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Critics Consensus: Powerful performances from Isabelle Huppert and Gérard Depardieu help Valley of Love compensate for the drift of a story that doesn't fully explore its intriguing themes.
Critic Consensus: Powerful performances from Isabelle Huppert and Gérard Depardieu help Valley of Love compensate for the drift of a story that doesn't fully explore its intriguing themes.
All Critics (52) | Top Critics (8) | Fresh (38) | Rotten (14)
In such a spare and intimate story, Huppert and Depardieu are riveting.
It's in the way that Depardieu and Huppert can convey an aspect of phenomenological rue that gives this sometimes muddled movie its ultimate value.
This movie is finally only about Isabelle Huppert and Gérard Depardieu, and that's enough.
It's such a pleasure to be in Huppert and Depardieu's joint company that the film's failure to coalesce is to some degree forgivable, or just ignorable.
A project that gives its leads little to do other than complain about the heat and bad cellphone reception and look askance at American boorishness.
The dynamic between the stars feels overly familiar at first (he's the incorrigible but good-hearted boor, she's the irritable scold), but their comfortable rapport is one of the film's most potent assets.
The joy of the film is watching Huppert and Depardieu together, two great actors who extract every nuance from the shifts in their uncertain relationship.
The plot enters like a blender in which guilt, metaphysical and pain intermingle... [Full review in Spanish]
French screen icons Isabelle Huppert and Gérard Depardieu are such a charismatic pair you could watch them doing nothing and still find them compelling.
Yet this memorial movie touches on spiritual awareness, a miracle achieved through its superb stars.
For all its undoubted curiosity value, this Valley runs dry too quickly.
It is Depardieu, as a mass of a man facing his own mortality, who anchors the film, baring his huge belly for the camera even when he's not in the vicinity of the motel pool -- he's quite clearly (and quite poignantly) a man lost inside his own body.
A clear example of nepotism at the Cannes Film Festival (it would have never competed if it were not French), and the beautiful cinematography and great actors cannot do much to save a terribly dull narrative that relies on such an awful amount of inelegant exposition.
Super Reviewer
The desperate search for the lost child, and as a corollary, for love as well. The desert is hot and dry, vast and mountainous and the physicalities of Huppert, with her bitterness and flame-coloured looks, and Depardieu who is monumental, reflect it exactly. The desert echoes their profound loneliness. The film portrays the loss that happens now so easily In the age of blocking, deleting, unfriending and the like, and even the resort only to skype for contact. The acting performances are sans pareil; you find out how naturalistic they are, because of how uncomfortable you feel, even when they are being humorous, which is often enough. The fantastic landscapes and the oppressive atmosphere pose a constant menace. You are carried along and surprised when it ends. For adults only, this is an item of classic proportions.
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