Le refuge (Hideaway (Le refuge)) (2010)
Le refuge (Hideaway (Le refuge)) Photos
as The Mother
as The Father
as The Woman on the Beach
as The Doctor
as The Seducer
as The Drug Dealer
as The Priest
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Critic Reviews for Le refuge (Hideaway (Le refuge))
For a time in her life, a woman's pregnancy is the most important thing about her. That is the subject of Hideaway.
Gradually, Ozon and the actors convince us of the reality of this world and persuade us to watch the film on its own, unforced terms. Nothing much is happening, except life.
Hideaway" is a spellbinding film, and Ozon, who is perhaps best known for the much darker Under the Sand and Swimming Pool ... continues to be an inspiring director of actors.
One of the pleasures of Hideaway (Le Refuge), from François Ozon, an erratic talent of satisfying films like Under the Sand and misfires like 8 Women, is its insistence on ambiguity.
Sometimes a movie makes a point that's been made before, but makes it so beautifully and so quietly that it feels like you're discovering it for the first time.
Audience Reviews for Le refuge (Hideaway (Le refuge))
Death, relationships, life, homosexualism, family, being a mother, a country house near the beach. All the recurring themes in François Ozon's films are seen in Le Refuge, where he works again with Melvil Poupad and Mari Rivière in small roles. Rivière's character and scene made me believe for those brief minutes that I was, actually, seeing a Rohmer's movie. I haven't noticed it before, but there's a lot of Rohmer in Ozon's films, though Ozon can be very melodramatic sometimes while Rohmer was a genius in his vision of the ordinary. Isabelle Carré, who was really pregnant during the shoot, gave to the film more realism and some very beautiful scenes.
I adore these kinds of films; character driven, well acted, uncomplicated in terms of plot, emotive and perceptive. The French seem to do them especially well. Isabelle Carré, who really was pregnant during filming, is a revelation in understatement - if that isn't a contradiction in terms. She is wary but not shy, delicate but inquisitive, and her reactions are incredibly natural and real. Louis-Ronan Choisy complements her very well as the gay brother of her dead lover - he has a haunted quality in some of his scenes but radiates warmth. Mathieu Hippeau and François Ozon's screenplay is excellent and Mousse's "self-rehab" from drug addiction is handled sensitively and non-sensationally (very different from the melodramatic methods used in most Hollywood films) - she simply gets on with it and tries to make the best she can of an awful situation. I was also very impressed with the ambiguous & open ending that successfully gives closure whilst making no promises of happiness, just hope. François Ozon, a director of immense skill and versatility, has made an unshowy, unforced film on addiction, birth and rebirth, no mean feat. Le Refuge is excellent stuff.
Sensitive, beguiling tale of a women's struggle with a solitary pregnancy and drug rehab which perhaps underplays the horrors of withdrawal but scores for tackling the female experience of pregnancy. This works thanks to a multilayered performance from Carre and hauntingly fragile silent stares which speak volumes.
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