When you're not in love, what do you do?
Isabelle, Parisian artist, divorced mother, is looking for love, true love, at last.
Isabelle, Parisian artist, divorced mother, is looking for love, true love, at last.
Juliette Binoche Xavier Beauvois Philippe Katerine Josiane Balasko Sandrine Dumas Nicolas Duvauchelle Alex Descas Laurent Grévill Bruno Podalydès Paul Blain Valeria Bruni‑Tedeschi Gérard Depardieu Claire Tran Schemci Lauth Charles Pépin Tania de Montaigne Bertrand Burgalat Lucie Borleteau Walid Afkir Suzanne Osborne Julien Meunier Roger Martínez
Dark Glasses, Bright Sunshine In, Let the Sun Shine In, Des lunettes noires, Deixe a Luz do Sol Entrar, 렛 더 선샤인 인, Meine schöne innere Sonne - Isabelle und ihre Liebhaber
How refreshing. Denis’s dense and fully fleshed-out conversations, confrontations and intimate moments are such a joy to watch and stick with you. She’s always good.
1) "at last" jazz version softly plays in the background -- juliette binoche's married lover tells her she's charming but that his wife is 'extraordinary'
2) etta james painting hangs above binoche as she's curled up on the couch, devastated
3) "at last" by etta james plays in the club (IN THE CLUB!!) when she first meets and dances with sylvain
claire denis! fuck!
Watched with Cormac
Let the Sunshine In is like having sex with a scumbag and knowing the moment you'll reach orgasm is when your disgust for him peaks. No cuddles afterwards.
Apologies to Claire Denis for such a blunt opening, but her... banging intro certainly set the tone for the unfulfilling, languid affair where the emotions clash but all you're left with is indifference and perhaps a slight craving for a cigarette after the sex.
Contrary to Denis' masterful fusing of style & substance in her opus Beau Travail, here she provides a mere glossy frame – with no content underneath. Stylistically, the film boasts a capable director: the soundtrack is refined and brimming with taste, the cinematography pulsating…
i dont ask for a lot. if claire denis wants to capture the essence of a depressed, terminally horny juliette binoche, who are we to say no.
I really don’t quite now how to review it. At first I thought about just not write anything, so not to embarrass myself, but I’m a fool so here it goes. I’m fascinated by how the film can feel warm and close, so especific yet at same time keep itself out of reach. Giving a look at writing here and outside these scale seem to be a recurring theme, the film is either perceptive or distant according to how one feels about it, my impression is that Denis achieved something very hard remaining warm but clinical. In this and only on this, the film does suggest the Barthes book that supposedly was the starting point for the project. It is…
For a study of character so rooted in, nay obsessed with, the idea of finding an inner value before asking others to do the same, Claire Denis’ LET THE SUNSHINE IN In leaves almost nothing up to the viewer to actually wrestle with themselves.
There’s got to be some irony to be found too, surely, in selling us on this character so hell-bent on finding happiness that she will feign a connection wherever she can see possible. And still, the only time I ever saw myself in Isabelle is in that wide-eyed grin she wears as soon as the credits start to roll.
Given the title, maybe it’s only apt that this be such a dull, lifeless affair. But you…
French men, man. Boufff. No one does end credits better than Denis
So many ugly men!!
As a dude, do I have the "right" to get indignant about a film—directed by a woman, written by two women, apparently somewhat autobiographical in the case of novelist Christine Angot—because it focuses exclusively on the female protag's mostly self-debasing relationships with various men? Maybe not, but I felt kinda gross watching this all the same. Denis isn't Breillat, fearlessly committed to exploring masochistic behavior; her sensibility is much more...let's call it "sparing," as an antonym of "unsparing." And in this context, such generosity of spirit feels shallow. Binoche struggles to fashion a coherent personality from oscillating brusqueness and neediness, in a way that recalls Broadcast News' Jane Craig...except that film is equally interested in Jane's professional life, whereas…
(Her standards are so inexplicable to me, but then, she's actually connecting, even if it is with people who are reprehensible, beneath her, scum of the earth. She's alone but not alone; so part of me still envies her odyssey. The enigma here is her; we see the tears in her eyes, we see the pain in her face, but when she is not hurt all we see is a blank slate. The men are cold, contemptuous. Not a single one shows any companionship, kindness, or sincerity. This is a scathing film, and its moments of humor are undercut by its bleakness in retrospect. It looks cold, feels cold, shimmering darkness of a city night or sunny days blotted out by thin fabric, it's all sharp but limited, always moving.)
52 project: 52/52
Claire Denis has never shied away from stories of love and desire, but her films tend to render such romantic ideals as atmospheric abstractions, or corrupt them with militaristic repression and fits of extreme violence. For example, the most erotically charged movie she’s ever made is about a caged bride who escapes from her Paris dungeon and bites strange men to death during sex (oh, yeah, and it stars Vincent Gallo).
Prior to Cannes, her most recent feature starred Lola Créton as a teenage girl who was raped with an ear of corn. “35 Shots of Rum” and “Friday Night” are both supremely tender works of art, but they’re also both haunted stories of loss and isolation, holes that can never be filled, let alone played for laughs.
Dos filmes mais escorregadios da Denis. Assisti com a frequente sensação de que o filme me escapava. O que à princípio parece uma narrativa direta da busca desesperada por satisfação afetiva por uma mulher exausta vai se revelando em outra chave. Os diálogos são dos mais fortes e francos da carreira da Denis, que sempre foi uma cineasta do não-dito, dos espaços negativos.
Enquanto Isabelle se derrama e tudo absorve dos homens com quem se relaciona, como uma esponja, os homens são de algum modo um enigma, se protegem do contato mais íntimo e nunca nos é dado conhecê-los de verdade. Aí temos a cena final, na verdade a cena dos créditos final. Aquele diálogo é pura mágica. A maior cena de créditos que tenho lembrança.
Enfim, necessário reler o Fragmentos de um Discurso Amoroso pra voltar ao filme. Denis, Agnès Godard e Binoche (cada dia mais linda, não é possível) criam uma das adaptações mais frutíferas que tenho notícia.
very good movie to watch when you’re not feeling great and you just want something to meet you where you’re at but also give you a little push forward
this one’s a keeper
chatty and lovesick, at last
잔에 금이 가 있는 것을 알면서도 술로 가득 채우고만 싶은.
“ I’m tired.
is this my life?
I want to find a love. One real love
Why couldn’t it be different for once?
Why, Why, Why?
I don’t get it.”
هناك سحر يحوط جولييت بينوش يجذبك تجاهها💗..
Dudes Suck. Binoche Rocks.
a compelling argument for why the country of france should get collectively sent to prison.
da li je glavni lik ove art drame za razvedene mame bukvalno ja ili ne. na pocetku mozda da a kasnije valjda ne. sta hoces zilijet binos odluci se vise. mislim znam sta hoces hoces pravu ljubav. nemoj da zuris sto se tice toga samo ces se razocarati i preispitivati sebe. ne zilijet binos nemoj da ides kod vracare da manifestujes pravu ljubav. ps zilijet binos lepa si ne vidi se da imas 54 godine u toku snimanja ovog filma
Looking at the review and ratings of this movie it seems you either love or really dislike this movie and I really liked this one and absolutely loved Binoche in this . Binoche is quickly becoming one of my all time favourite actors and she is extraordinary in this story of loneliness and love .
Some of the men in this especially the first one we are introduced to are just fuckin awful and I just wanted to reach out to her and show her not all men are cunts just the ones in this movie it seems .
If ‘Nymphomaniac’ and ‘Gloria Bell’ had a child, this would be it.
I’m starting to notice that every time I finish a Claire Denis film I feel cleansed. Something about her films just always put me in a meditative state of mind.
Sadly, this is the last accessible feature film I could find by Claire Denis. It’s been a long time since I’ve binged a specific director, and the best part is seeing them grow over time through their stories. We went from women experiencing colonialism in South Africa, to stories about love, sex, and immigration in France, and all the way to fuck-boxes in space.
It was a fairly plotless and horny time, but every second was well spent. On the bright side, I started and ended with Juliette Binoche. I will finally say some things about this film.
1: I LOVE Etta James with all my heart, and to not only have “At Last” playing during one of Denis’s iconic…
Sad Juliette Binoche is sad.
a única vez que juliette binoche se interessou pelo que alguém tinha pra falar foi por alcione lá na quadra da mangueira
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