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Intimate Strangers Reviews
This is a very clever film with a lot to say about life, death, sex, human relationships, human fragility and loneliness - but it does it all with a wonderfully light hearted touch. The most wonderful insight of this film, though, is that paying taxes and dealing with deep disturbing psychological issues have similar concerns - what do you declare and keep hidden... A case of mistaken identity crisis--Polar Opposites Often Do Attract or Repression Meets Expression... Leconte and the soul secrets!!
Somehow the movie described on the site doesn't seem to be the movie I saw. It wasn't mystery, suspense or comedy, just an incidental account of a strange set of people whose relationships don't really amount to much. How this could be compared to Hitchcock, I can't fathom. He would never have made such an aimless movie that just goes on and on without really going anywhere. Only the initial set up has any interest at all. The conversation between the two main characters sounds like a woman trying to be more interesting than she really is. The dialogue is just a snooze fest. There is no suspense--I just kept waiting for it. What a ho hum of a movie!
absorbing watch, and 'naunced' done really well. only sexual tension, no sex. very restrained and excellent performances - french thespians sandrine b and fabrice luchini are bloody forces to be reckoned with, salute.
(***): [img]http://images.chrc4work.com/images/user/icons/icon14.gif[/img] Interesting and well-acted.
Drame pyschologique qui verse parfois dans la psychologie à deux sous. Heureusement l'histoire intrigante et l'esthétique de la direction photo rend ce film au final assez bon.
Le film commence très fort, dommage que la fin ne tienne pas les promesses.
Director Patrice Leconte subtly infuses the movie with humor and psychological depth by focusing on the expressive repression on his actors' faces, and keeping his camera so close to his subjects that you share their sense of wilful withdrawal from everything around them.
A bit peeved that what I thought would happen - didn't happen. But it kept my attention and felt mysterious throughout.
It was sleepy - not a comedy. There's an awful lot of 'therapeutic' dialogue and scary music, but it's not a thriller type as the music suggests. You can nap through the middle of the movie, just catch the first and last 15 min and you'll get the gist.
Good concept, but a little dull. Quite slow paced.
Strange and very subtle. What you think will be the climax of the movie is actually revealed very early on.
Literally, "Too Intimate Confidences", this is a quiet tale of mistaken identity that becomes a deep and lasting friendship. Sandrine Bonnaire is radiant as Anna, a woman who seeks the help of a therapist and accidentally (?) winds up in the office of a tax attorney, William (Fabrice Luchini), where she dumps a load of emotional freight before he realizes her mistake. What develops flows from that initial misunderstanding and was a pure joy to watch, from the clucking reluctance of his secretary, to the helpful advice from the therapist down the hall, to that of his ex-girlfriend. The story moved naturally, if haltingly, as these two lonely people learned to listen to each other and grew to trust one another. This is about following one's heart, pursuing one's dreams, and learning to really care about another person. Both of these characters have emotional voids and it is engrossing to watch those vulnerabilities play out before us. Beautifully filmed, marvelous editing, and a script that was properly nuanced to give the viewer enough to keep one interested, but not so much that it became predictable. The supporting cast was marvelous, with each character bringing something important to the mix. Of particular note, Urbain Cancelier, as one of the good doctor's patients, played the grocer in Amelie, and this viewer thought how fitting he would wind up in therapy after Amelie got through with him!
Brilliant film from Patrice Leconte, with a grown up Sandrine Bonnaire as a woman who mistakes a bland tax attorney (Fabrice Luchini) for a psychiatrist, and by the time they both admit they know the mistake, a kind of satisfying psycho-sexual therapy game commences that neither wants to stop. In a more conventional film the two would be in bed within the first 40 minutes, but not for Leconte, the man behind such similar forbidden fruit masterworks as "Monsieur Hire", "The Hairdresser's Husband", and "The Girl on the Bridge", he's more concerned with the psychology of attraction, obsession, role playing, and inaction, which makes an eventual hook-up (if possible) all the more exciting.
Some may find it boring, while others may find it intriguing.