When a film is not a science fiction, set on another planet, the characters are expected to be Homo Sapiens, and therefore to behave and think as such. This is not the case with this film. The characters' behaviors bear no relation to everything known about human behavior throughout history. Feelings, reasoning, actions, nothing resembles the humans we know. If it was meant to be surreal, it did. Why a cast of this quality accepts making a film without any logic, is a mystery to be elucidated. I got angry at the end of the projection. I've been robbed was the feeling that came over me. Dont waist your time anda attention. Run!

Greetings again from the darkness. If you are one of the many who need someone to cheer for - a nice person - in order for a movie to work for you, then this latest from renowned French director Claire Denis (BEAU TREVAIL, 2019) is going to be a challenge. Ms. Denis co-wrote the script with Christine Angot (they previously collaborated on LET THE SUNSHINE IN, 2017), an adaptation of Ms. Angot's novel. Oscar winner Juliette Binoche stars as Sara, and we first see her whilst on an idyllic retreat with her long-time lover Jean, played by screen veteran Vincent Lindon. Sara and Jean are clearly happy and in love. When they return to Paris, we learn Sara is a talk show host for Radio France International, and Jean is a former Rugby star who has spent time in prison for an unspecified crime. His son, Marcus (Issa Perica), from a previous relationship is a troubled young man being raised by Jean's elderly mother, Nelly (Bulle Ogier). Jean has little fatherly sense and makes only a negligible effort to help. One day, Sara spots her former lover, Francois (Gregoire Colin), on the street. Maybe he sees her, maybe he doesn't. Sara is overcome with emotion. Sara and Francois were together when she began seeing Jean. To make this the most French situation possible, Francois and Jean were friends and business associates at the time. It's even implied that Jean's crime was related to activities connected to Francois. So what happens next? Well, Francois phones Jean to offer him a chance to come back into the scouting business for a new sports agency. It's at this point where Francois' motivations come into question. Is he doing his friend a solid, or worming his way back into Sara's life? This becomes a love triangle even more complicated than most. Sara deludes herself into thinking she can once again enjoy the fruits of Francois, while also appeasing her beloved Jean. Jean is distracted by issues with Marcus, but also too proud to let Sara walk over him. On full display are the destructive effects of an affair and the lack of respect and appreciation for a strong relationship. When the power of lust and idealistic romance collide, things get emotional. Cinematographer Eric Gautier works wonders in confined spaces. We never feel like the characters have room to breathe after making another poor decision. It's interesting to see how smoking and taking calls on the apartment balcony becomes the only "space". The close-ups allow Ms. Binoche and Mr. Lindon to do what they do best. The music is by Stuart Staples and includes a song written especially for the film. Ms. Denis again proves adept at allowing viewers to interpret the actions of all-too-human characters. Opening July 8, 2022.

I have rarely seen a so accurate story, too much accurate maybe, because it may be disturbing if one way or another, you have yourself lived those situations. Awesome actors - and actress - performances that make it even more powerful. French movies are excellent in such topics, dialogues are so real, as in real life. The story is very common, without any surprise, but so well done, in a different manner than for instance Claude Sautet did in CESAR ET ROSALIE which was smoother for more or less the same plot, but Yves Montand, Samy Frey and Romy Schneider would had not fit with so extreme scenes. However maybe I am wrong. Anyway I guess that CESAR AND ROSALIE inspired Claire Denis for this film.

Normally a fan of Denis, Binoche and Lindon - but this really is bad. Lots of talking and shouting, lots of unnecessary exposition, but still lots of confusion. What does this woman actually want? If Jean wants to be a good father why does he spend so little time with his son?? Did Francois ever love her, or is he just welcoming the chance to get her back into bed??? I never really found out any of this and, frankly, by the end I decided I didn't care. With actors and a director this good, I feel you *have* to blame the script. Perhaps the source novel is just as bad (or worse). But I'm certain I'm not going to read that to find out. Hey ho.

Not going to claim this is the best one by Denis, but it is still a good go by the 70-plus French stalwart. If anyone else had made a movie out of the Angot novel, it would not be anywhere near as good. Denis gets terrific work out of the troupers Lindon and Binoche, and finds real depth in material, that maybe is not all that deep actually. Next time around, she brings to the screen one of the late novels by the wonderful American writer, Denis Johnson. No relation, of course.

As an Avid movie goer I found Both Sides of the Blade as one of the best movies I have watched in the last few years. It reminded me on Red, Blue, White and Double Life of Veronica. In a way it is not as deep as those movies; it has a very simple plot depicting human psyche, emotions, insecurities, doubts, desire, relationships and it's challenges that can happen to anyone in the real life. If you're into art cinema you will be very happy watching this one. Both protoganists Juliette Binoche and Vincent Lindon act incredibly well. JB act makes this movie close to a masterpiece.

In this brilliant romantic tragedy a solid woman Sara (Juliette Binoche) is torn between her committed lover Jean (Vincent Lindon) and her wild former passion Francois (Gregoire Colin). The film opens on Sara's idyllic seaside holiday with Jean and ends with her left alone, a victim of her own emotions, her lover's selfishness and - as if all that were not enough - mischance. A lifetime of womanly obedience ends in dashed loves and a dark solitude. The scenes of intimacy and conflict stand up to anything in Bergman. The predominantly low string score tightens the lovers' tension throughout. As this is a Claire Denis film the romantic plot is given a political correlative. As one of Sara's radio interviewees cites Fritz Fanon, racism is a psychological problem because it is rooted in locked-in identities. So are the three central lovers. When Francois resurfaces as Jean's business partner and Sara's disaster, she tries to negotiate between her two lovers. She is ultimately betrayed by one man and her own compulsiveness. The political theme also involves 15-year-old Marcus, Jean's black son from his marriage to a Martinique woman. Jean tries to save the despairing teen from letting himself be defined by the dominant white society and resigned to servitude. That's Sara's struggle too. The epilogue is a pallid, lifeless scene of Jean and Marcus at a juvenile rugby practice, their spirit lost.

I love Juliette Binoche! I run to see her movies because I find she can do marvelous things with her face,voice and body She is a sensitive and intelligent actrice that can enhance even a mediocre scenario... Usually....normally...but this one was hopeless!! Not even Vincent Lindon (that was the most constructed of the charecters)couldn't!! The story starts with a cliché of loving holidays(you know swimming like dolphins,sun,bodies under water free...etc) Then follows a story that was meant to be heavy about a loving relationship that gets mingled in a passionate ex relationship of the women...a story badly constructed,poor,and...incapable of sounding real or. Touching For people in their 50,s the dialogues seemed stupid and the love scenes overplayed and childish I wonder how Juliette feels when she hears herself screaming « mon amour « for 3 minutes!!! Overall..I was sorry for my waisted evening and for Juliette Binoche and Vincent Lindon!!

Both Sides of the Blade_360P

Both Sides of the Blade