You Ain't Seen Nothin' Yet! (2013)
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as Eurydice 1
as Orphée 1
as Eurydice 2
as Orphée 2
as Monsieur Henri
as La mère
as Le petit régisseur
as Le père
as Le garçon de café
as Secrétaire commissaire
as The Mother
as The Father
as Monsieur Henri
as The Young Girl
as The Hotel Waiter
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Critic Reviews for You Ain't Seen Nothin' Yet!
What affects us most is Resnais's ingenious idea. And that affect is magnified by a surprise ending.
Resnais' occasional use of split-screen and other traditional special effects enhances the picture's various dualities, dreamy quality and decided staginess.
Despite some hyperbolic excess, the process of Resnais' production is unexpected and free, and revisits the very nature of cinema, and theater, with a wondrous eye.
There is something both mischievous and moving about a world-famous director who, closing on his 10th decade, designs a movie that celebrates his actors: their varying ages, their versatility, their heart.
"You Ain't Seen Nothin' Yet" is a sly, elegant meditation on the relationship between reality and artifice. But it is a thought-experiment driven above all by emotion.
Audience Reviews for You Ain't Seen Nothin' Yet!
The theatricalization of Cinema as intended by Resnais may be absorbing at first as it explores a touching sense of nostalgia from the characters/actors, but this scene play is not compelling enough to deserve two hours, becoming artificial and vapid after a while.
In "You Ain't Seen Nothin' Yet," famed playwright Antoine d'Anthac(Denis Podalydes) has died. His last request is for some of his favorite actors and other creative collaborators to meet at his house. What he would like them to do is judge a new version of his play "Eurydice" performed by a warehouse theatre group who apparently spent most of their budget on a cool looking pendulum. Even with one seriously wonky framing sequence, director Alain Resnais, with his penultimate film "You Ain't Seen Nothin' Yet," turns two of his favorite obsessions, theatre and surrealism, into a mindblowing experience. Throughout the body of the movie, with a little help from split screen, he seamlessly combines three productions of a play(starring Sabine Azema & Pierre Arditi, Anne Consigny & Lambert Wilson and Vimala Pons & Sylvain Dieuaide respectively) that occasionally inhabit the same space.(Thus proving we have to find out to how to clone Mathieu Amalric.) This is no mere experiment as it allows the viewer to not only see the differences in various adaptations but more specifically in how the actors interpret the work.
Man, before popping this in, I had no idea director Alain Resnais was also the dude behind such influential classics as "Night and Fog" (1955), "Hiroshima Mon Amour" (1959) and "Last Year at Marienbad" (1961). It makes me wish I liked his most recent, "You Ain't Seen Nothin' Yet", more. I would never have guessed this was the work of a 91-year-old master. Now I feel like a true piece of shit. I wanted to rate this a tad higher because Resnais uses some impressive long takes throughout "Nothin'", highlighting especially the facial expressions and hair of his actors as they go on long spiels about life, love and death, but then the ending happened and I was just completely soured to the whole enterprise. Really truly, I'm sorry, but I thought the wraparound here was downright atrocious. Considering we're barely ever introduced to any of the characters -- a group of friends who gather at the home of a recently-deceased acquaintance and end up reciting a late reading by the former playwright, a loose interpretation of the Greek myth of lovers Orpheus and Eurydice -- the final twist is completely unbelievable, which is, you know, whatever, but without spoiling it, it's irritating mostly for just being plain fucking shitty of the person involved. And the script by Resnais and Laurent Herbiet -- inspired by dramatist Jean Anouilh's "Eurydice" and "Cher Antoine ou l'Amour raté" -- is stuffed with so much painfully pretentious, strenuously jokey dialogue I'd say I understood at long last how detractors of "The Counselor" felt watching that particular film, when actually I'd more so relate "You Ain't Seen Nothin' Yet" to the drunken redundancies of Paolo Sorrentino's outstanding "The Great Beauty". Where that movie's peaks and valleys serve a larger point about life imitating art and vice versa, this one's just feel hopelessly remiss. Or, in other words, as with most things, Arcade Fire did it better. But again, I'm probably in the minority. (52/100)
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