Well edited and filmed movie that slipped by with ease. Dialogue movies need to be executed like this. The story is about grieving, but looking forward to interesting changes.

Life is simple, until it's not. In Things to Come, Nathalie (Isabelle Hubert) is a philosophy teacher, a middle-aged mother of two in a sound marriage, who has a firm grasp on all that life has to offer. When her aging mother dies and her husband leaves her for another woman, she is forced to redefine her life in the face of absolute freedom. Beautifully shot and featuring another great performance from Hubert, Things to Come is a tender and moving slice-of-life film that will force audiences to consider the fragility of their own circumstances. In a cinematic era of prequels, sequels and reboots, Things to Come proves to be a touching, intelligent and, ultimately, inspirational change of pace.

The greatest 01 hour: and 41 minutes ever!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Delicato ritratto di un'insegnante francese che affronta i problemi di una vita ordinaria cercando di non farsi abbattere nel morale. La separazione e la morte della madre scandiscono i ritmi di un dramma in cui l'unico sollievo per la Huppert sembra essere quello derivante dal rapporto con un ex alunno promettente. Purtroppo è proprio questo rapporto e questo personaggio ad essere troppo ambiguo per capirne le intenzioni e gli effetti. Succede troppo poco e la delicatezza di alcuni momenti non è sufficiente.

European indie with solid casting and some highbrow elements is mostly bogged down by it's uninteresting aspects e.g. romantic cliches. Still the casting is solid and performances from the main players are quite good.

A very French movie that contrasts people's philosophical beliefs against their everyday actions.

This film is refreshing in its realism. The audience gets to see how the philosophy professor Nathalie Chazeaux deals with change.

Il film offre un'esperienza intellettiva diversa dal solito, nella quale l'incredibile forza spirituale della protagonista si scontra con il tempo ed eventi drammatici della sua vita quotidiana. Tecnicamente il film fa affidamento ad inquadrature di alto livello ed una solida mano registica. Tuttavia, quello che risalta di più sono gli splendidi dialoghi che emozionano, coinvolgono e creano il giusto compromesso tra narrativa dei personaggi e il potente messaggio alla base del film.

Gentle, thoughtfully scripted and filmed. And the beat goes on.

â~Lâ(TM)Avenirâ(TM) (The Future) is something of a rarity as todayâ(TM)s movies go and all the better for it. Had I known it was written and directed by Mia Hanson-Love I might have decided to stay well away - after being disappointed by the 2011 â~Goodbye First Loveâ(TM). But, with this surprisingly mature work she has taken her own family experiences and crafted a story so filled with thoughtful observations the viewer feels more like a voyeur - within the unfolding lives of these very real characters. I kept expecting the now common clichà (C)s to start unfolding i.e.; lonely deserted wife seeks solace in a carnal relationship - but surprisingly and pleasingly, all superficial 온라인카지노추천 and cinema modernisms are avoided in preference to intelligent character study. Being raised in a home with two philosophy teachers as parents, Mia Hansson- Love uses in-depth philosophy to examine her central theme/s. Nathalie, her main character, illustrates strong points by telling her family, acquaintances, and students, that in her youth she had been surrounded by Stalinists but, she read Solzhenitsym (who exposed any vague notions about the â~idealismâ(TM) of the USSR!). Without labouring her points, she invites her students and anarchist friends to think for themselves, even lifting a veil against the trendy leanings of Post Modernism. She freely quotes the philosophies of Rousseau and Gunther Anders (might any of this had an influence on the avoidance of sensationalised 온라인카지노추천 type clichà (C)s within the intelligence level of Loveâ(TM)s script...I wonder?) With succinct statements Nathalie invites them to recognise the positive points of right and wrong with an open mind. This is a woman grounded in pure realism - even though, beyond her control, some elements that have constituted her world till now are beginning to alter. If I may have questioned anything it could have been the resolve with which she accepts some of her situations â" she says to her husband and the father of her children; âI thought you would love me foreverâ? - then simply, without even questioning his leaving her, goes along with it. This could be the reaction of someone who was expecting the situation, but to one who thought all was well....Iâ(TM)m not so sure. Nathalie is superbly played by Isabelle Huppert, who takes us on a slice-of-life journey thatâ(TM)s reminiscent of some of Bergmanâ(TM)s better works â" examining the intimate challenges that life brings into most all our paths - without trivializing or cheapening the experience. The careful selection & use of music is evident (as with earlier works) adding to the soundly grounded profundity of this enlightening cinematic achievement. The fluid imagery of prolific cinematographer Denis Lenoir (Still Alice â~14) is not well suited to subtitled topics but one imagines the budget and subject would have dictated this style â" so, some may find viewing and reading could offer a little hard work at times. Still, the rewards are well worth any efforts necessary to stay with this strong and satisfying work.

Not much to it. Dull, uninteresting, uneventful.

- Isabelle Huppert inspires in Things to Come - I found an unexpected kinship with Isabelle Huppert (Louder than Bombs, Valley of Love)'s portrayal of Nathalie, a middle-aged philosophy teacher in Paris. In an interview with the Guardian, filmmaker Mia Hansen-Løve (Goodbye First Love, Eden) explains her need to make films, "When I was in my 20s," she says, "I was completely lost in life. Realising I wanted to make films gave me strength. Because film-making is a perpetual questioning of existence. What is beauty? Why am I living? And I need that, I think, perhaps because of being the daughter of two philosophy teachers." Perhaps it was Hansen-Løve's portrayal of her "fictional" philosophy teacher's flux and transition that I related to so strongly. I wanted to see Things to Come when it came out initially, but I was in the process of my own transition: moving to another part of London. It was a number of weeks after its release before I was finally able to walk away from some unpacked boxes and escape for a little culture at the Curzon Bloomsbury cinema (less than fifteen minutes' walk from my new place, thank you very much!), thanking heaven above that I didn't miss this title before it left the big screen! I have rarely met a French film that I didn't like, and this one was wonderfully satisfying. One of my favorite things about French cinema (or at least the films I tend to see) is their simplicity. They just pick a story and give everything they have to do it justice. This particular story begins with Nathalie's fairly perfect life. She's an inspiring philosophy teacher, a caring wife, mother, and daughter, and she enjoys her work so much that she has no intention of retiring anytime soon. She keeps up an impressive pace of life (which still leaves time for sitting down with a glass of wine. I love France!). When she is blindsided by a series of unfortunate twists, she finds that she is suddenly at a new and unexpected stage in life: one filled with more freedom than she has ever known, and ever expected to have. What I loved about Things to Come was that Nathalie did not enter into a sort of mid-life crisis. She certainly could have, and many films focus on just that: people falling apart and putting themselves back together again. But I liked that this film did something different. Nathalie is a woman of incredible self-assurance. She knows who she is, what has and has not worked for her in the past, and what she doesn't want in her future. She isn't ashamed of her mistakes, and she does her best to handle the curveballs that come. She embraces life. My moving house obviously pales in significance, but I related to her nonetheless. New seasons in life bring some level of disorientation, no matter how good they are, and time is necessary to acclimate oneself to new ideas, new possibilities. I loved Nathalie's bold, fearless way of taking on life and living it with integrity, without reservation (and with a lot of sass!). Her stability was an inspiration. Let's embrace life together, shall we? ---------- This review was first published on Narrative Muse, http://www.narrativemuse.co/movies/things-to-come, and was written Micah Orsetti. Narrative Muse curates the best books and movies by and about women and non-binary folk on our website http://narrativemuse.co and our social media channels.

Disappointing and uneventful. Interesting premise and beautiful scenery but leaves much to be desired.

It's always nice to find a watchable french movie.

Enjoyable for the scenery alone and Huppert is like an ageless whirlwind, but story wise this seemed a lot longer than 100 minutes.

Isabelle Huppert gives another fine performance in this touching film about loss and learning to find your place in the world once everyone around you is gone. It's a bit too quiet at times, but it is still worthwhile.

I was wondering when the point of this movie was going to come, but it never did. It gets a full star for the French scenery.

Excellent acting, but more philosophical than dramatic. This film features abstract concepts; I was expecting a character's story.

A truly worthy film to watch -- if one is not asking for sensationalism or sentimentality.

A movie that lasts two hours with absolutely NOTHING to come. Nothing. This movie is about nothing. Two hours you wish you had back. Tremendous YAWN!