Come Undone and Live Again Drawing
drawings
It gives not a story. Just sensations, emotions , drawings of states. But the atmosphere remains the lead virtue. And the performances, nigh cinematography are skilful reasons to see information technology. Again. A film about family unit and about profound loneliness. Romance, at the first sigh. But , in essence, more. A motion picture for feel it. The nuances, the colors, the tension, the air, the flavours, the decisions, the sounds, the bitterness. And to see every bit familiar all. The portrait of mother by Dominique Raymond represents a existent good poin. Similar the performance of Jeremie Elkaim.
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Almost nothing
"Come Undone" appears to elicit a lot of opinions among the contributors to this forum. Granted, it's a moving-picture show that promises a take on gay life, as almost viewers look and somehow, it gets away from that promise into an introspective view at a fellow's soul. The film has a mode of staying with us even when it has concluded. It is a grapheme study about how a immature man gets involved into a dear thing with someone and so much different than him that, in the end, will leave Mathieu confused, hurt and depressed when things don't go according to what he hoped the relationship would exist.
If you haven't seen the film, perchance you would similar to stop reading.
Sebastien Lifshitz, the director of the moving-picture show, has told his story from Mathieu's viewpoint. Almost viewers appear to exist disoriented by the different times within the film, but there are hints that are not obvious, as ane tin can run into, in retrospect. The story is told in flashbacks that might add to the way some people will view the film. This is a story about the doomed the love Mathieu felt for Cedric and the ultimate breakup of their life together.
Kickoff of all, Cedric, the handsome young local, pursues Mathieu until he succeeds in convincing him he likes him. Mathieu feels the allure for Cedric besides. Nosotros realize how different both young men are past the way Cedric tells Mathieu's family how he feels school is non for him. On the other hand, Mathieu, who wants to be an builder, finds beauty in the abandoned identify where Cedric has taken him. Nosotros watch as Mathieu, reading from the guide book, wants Cedric'south attention.
When Mathieu comes out to his mother, she wisely tells him about the importance of continuing his career. She also points out nigh what future both of them would have together, which proves to exist true. Mathieu appears to have learned his lesson, the hard way. He goes on to an uncertain life with Cedric and attempts to take his own life. We watch him in the infirmary speaking to a psychiatrist that has treated his wounded soul.
The catastrophe might be confusing for most viewers, but at that place is a moment in the pic when Mathieu goes to work in a bar where we see him washing glasses and looking intently to Pierre, the young man who frequents the bar. That is why when Mathieu goes looking for Pierre at his house, appears to be difficult to imagine. However, nosotros take seen the way Mathieu is obviously interested in Pierre. The final scene at the beach, when Pierre and Mathieu are seen strolling in the sand, has a hopeful sign that things will be meliorate betwixt them as they watch a young boy, apparently lost, but then realizing the father is nearby.
Jeremie Elkaim makes Mathieu ane of the most complex characters in recent films. This is a young human being who is difficult to understand on a simple level. Mathieu has suffered a lot, first with the separation of his parents, then with his depressed mother and with losing Cedric. Stephan Rideau, who has been seen on other important French films, is every bit good, as the shallow Cedric.
While "Come up Undone" will carve up opinions, the film deserves a viewing because of the complexity and the care Sebastien Lifshitz gives to the story.
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Frustrating
Warning: Spoilers
A lonely depressed French male child Mathieu (Jeremie Elkaim) on vacation in the summertime, meets and falls in love with Cedric (the gorgeous Stephane Rideau). Quiet and slow this is a very frustrating motion-picture show. On one paw, I was absorbed by it and really felt for the two boys. On the other I was getting bellyaching--the picture constantly keeps flashing around from the past to the present with no rhyme or reason. Information technology's very confusing and pointless.
SPOILERS AHEAD!!!
Besides at that place are tons of plot holes--Mathieu, at one point, does something that ends him upwardly in the infirmary. What is it--we're never told! And then he breaks upwards with Cedric and tells everybody else he'southward living with him. Why? We're not told. Then he hooks up inexplicably with another guy at the end. Why? No explanation. It's clear Cedric loves Mathieu and Mathieu is living in the aforementioned town then... However it is a tribute to the picture that you really care about the characters so much. If but things were explained!
Elkaim as Mathieu is not skillful. He's alpine, handsome and has a overnice body--but he can't act. His idea of interim is sitting around with a blank look on his face--all the fourth dimension. Rideau, on the other manus, is keen. He's VERY handsome, has a very nice body and is one hell of an actor. Likewise he has an incredible sexual magnetism about him. In that location is full frontal male nudity, lots of kissing and a adequately explicit sex scene in the movie which is great--most movies shy away from showing male-male beloved scenes. This 1 doesn't and it helps to see how the characters care and feel for each other.
So, a frustrating film merely somewhat worth seeing--especially for Rideau'due south nude scenes--that is, if you like good-looking nude immature men!
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The Search for Self Made Visual
'Presque Rien' ('Come Undone') is an earlier work by the inordinately gifted writer/ director Sébastien Lifshitz (with the collaboration of writer Stéphane Bouquet - the team that gave the states the later 'Wild Side'). As we come up to understand Lifshitz's fashion of storytelling each of his works becomes more treasureable. By allowing his tender and sensitive honey stories to unfold in the same random mode found in the minds of dislocated and insecure youths - time now, time passed, time reflective, time imagined, time alone - Lifshitz makes his tales more than personal, involving the viewer with every aspect of the characters' responses. It takes a bit of work to key into his method, but going with his technique draws united states of america deeply into the film.
Mathieu (handsome and gifted Jérémie Elkaïm) is visiting the seaside for a holiday, a time to permit his mother (Dominique Reymond) to struggle with her undefined illness, cared for by the worldly and wise Annick (Marie Matheron) and accompanied by his sis Sarah (Laetitia Legrix): their distant father has remained at home for business reasons. Weaving in and out of the offset moments of the film are images of Mathieu solitary, looking depressed, riding trains, speaking to someone in a little recorder. We are left to wonder whether the unfolding activeness is all memory or contemporary activity.
While sunning at the beach Mathieu notices a handsome youth his age starring at him, and nosotros can feel Mathieu's emotions quivering with confusion. The youth Cédric (Stéphane Rideau) follows Mathieu and his sister habitation, standing the mystery of allure. Before long Cédric approaches Mathieu and a gentle introduction leads to a kiss that begins a passionate love obsession. Mathieu is terrified of the direction he is taking, rebuffs Cédric'southward public approaches, merely continues to seek him out for consignations. The two young men are fully in the throes of existence in love and the enactment of the physical aspect of this relationship, so very necessary to agreement this story, is shared with the audition in some very erotic and sensual scenes. Yet as the summer wears on Mathieu, a committed educatee, realizes that Cédric is a drifter working in a condiment stand at a carnival. It becomes credible that Cédric is the Dionysian partner while Mathieu is the Apollonian one: in a telling fourth dimension in architectural ruin Mathieu is excited by the beauty of the history and space while Cédric is only interested in the place as a new hideaway for lovemaking.
Mathieu is a complex person, coping with his familial ties strained by critical disease and a non-present male parent, a fearfulness of his burgeoning sexuality, and his nascent passion for Cédric. Their moments of joy are disrupted by Cédric'due south admission of adultery and Mathieu's disability to cope with that issue and eventually they part ways. Time passes, family changes are made, and Mathieu drifts into depression including a suicide attempt. The manner in which Mathieu copes with all of these challenges and finds solace, strangely enough, in one of Cédric'due south past lovers Pierre (Nils Ohlund) brings the flick to an cryptic notwithstanding wholly successful climax.
Subsequently viewing the moving-picture show the feeling of identification with these characters is so strong that the desire to kickoff the motion-picture show from the start now with the noesis of the consummate story is powerful. Lifshitz has given us a picture of meditation with passion, conflicts with passion's powers institute in love, and a quiet film of silences and reveries that are incomparably beautiful. The entire bandage is superb and the direction is gentle and provocative. Lifshitz is nigh convincingly one of the bright lights of movie-making. In French with English subtitles. Highly Recommended. Grady Harp
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More than than nothing
'Presque Rien' is a beautifully observed portrait of the experiences of a young French homosexual. Eschewing both stereotypes and preaching, it's a wonderfully naturalistic picture show, superbly acted, shot with a feel for the seaside town where the activeness takes place, never melodramatic but often painfully real. If anything information technology's almost too realistic, as there's trivial in the fashion of conventional plot, just scenes from a life. But the absence of conventional dramatic tension counts for less than information technology might in a world so subtly drawn. 'Presque Rien' might not be the most exciting film ever fabricated; but its elementary humanism serves it well compared with the pre-conceived celebratory or bigoted viewpoints that ofttimes mar treatments of this theme. Worth a watch.
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Some bold scenes and creative approach are not enough for a holistic film
European filmmakers have more often than not taken critical attitudes towards U.Due south. ones, resulting in hundreds of "intellectual" and sophisticated creations with dull pace and profound dead times... However, to avoid repetitions, new angles and topics are bandage almost, any means would do, including gay romance... Moreover, a real characteristic film should last for well-nigh i.5 hours, so you need to find some filling not besides far from the main theme...
In general, Presque rien meets the characteristics listed above, and the result is a mediocre, protracted non-too-erotic moving-picture show about two eighteen- 19-yr-olds, performed by males aged around 25 (not poorly, but still their looks and maturity betrays them), with several unnecessary scenes and characters, and using flashbacks into recent by, difficult to follow and embrace. For me, a French film nearly forbidden honey and affection should be more sizzling, more passionate, this is similar Made in Scandinavia, but the latter's scripts tend to be meliorate, meatier.
Unless you must and/or have plenty of fourth dimension, find some other related film.
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For a change I hold with the negative reviews.
Warning: Spoilers
This moving-picture show could take been a real adept drama of 2 immature men falling in love & due to circumstances drift autonomously,.
What we have instead is a very long 94 infinitesimal movie that seemed twice as long..
The editing & continuity was dreadful, for example--nice embankment scene,immediately followed by a cold weather or winter scene.;It was impossible to tell fourth dimension periods, there were flashbacks without explanation or reasoning.
There were besides many unfinished scenes & the ending inconclusive.
The acting was good by all concerned, the settings were very squeamish,
The entire film was as dysfunctional equally the families & persons involved. The English championship is COME UNDONE it sure fits this picture.
I normally do non agree with nigh of the negative reviews I read, BUT with this flick I practise agree with most of them.
Ratings ** (out of x) 60 points(out of 100) IMDb 5 (out of ten)
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Summer Romance
"Presque rien," a unproblematic story of two xix-year-old youths who meet and fall in love while both are on summer vacation, offers an affecting romance of vascillating passion.
Told past director Sebastian Lifshitz and writers Stephane Bouquet and Lifshitz through a series of vignettes--often presented in a nonsequential timeline--the unfoldment provides some work on the part of the viewer to position these disjointed fragments together.
Withal, the bones scenario is and so elementary that the unfoldment does unite in post-reflection. Information technology is an interesting tale, made plausible by two fine performances by the leads.
Jeremie Elkaim equally Matthiew evokes a slightly moody, troubled youth, longing for affection, and willing to give of himself in a new relationship. Elkaim'due south work beautifully conveys Matthiew's need for companionship and for escape from a staid and mundane domestic environment.
Stephane Rideau presents even so another of his remarkable performances as Cedric. Rideau immerses himself in the office then skillfully that his craft brilliance is taken for granted. Every bit close to the late James Dean as has been seen recently, Rideau takes his place in the Alain Delon legacy as one of France's leading immature actors. Rideau possesses an arresting countenance: even his pointed ears, protruding chin, an off-centered middle, and crooked lips seem to contribute to his handsomeness. His Cedric is non-intellectual, expressing archaic emotions in his approach to life; all the same, his avidity for Matthiew rings undeniably 18-carat and true.
The rest of the cast of "Presque rien" contribute to this slice-of-life tale, and we are pleased to take an opportunity to glimpse fragments of a both playful and poignant summertime romance.
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Well-intentioned story of sexual awakening
PRESQUE RIEN
(USA: Come up Undone /UK: Almost Nothing)
Aspect ratio: i.85:1
Sound format: Dolby Digital
While visiting his ill mother in Brittany during summertime recess, a teenage boy (Jérémie Elkaïm) falls in beloved with a local youth (Stéphane Rideau), merely their relationship falters as Elkaïm is cut adrift from all that was once familiar to him, with near-tragic consequences.
Sébastien Lifshitz'due south intimate drama chronicles the sexual enkindling of a naive teenager over the course of an idyllic summertime, recounted in piecemeal fashion every bit the managing director cuts abruptly between timeframes, from Elkaïm and Rideau's love affair to the former'south subsequent hospitalization following an off-screen suicide effort, rendered 'naturalistic' by hand-held photographic camera-piece of work and some improvized dialogue exchanges in central scenes. The results are confusing, to say the least: Just equally the boys begin to strike out from their families and forge a life for themselves, Elkaïm slips into depression (why?) and appears to reject Rideau (why?), afterward which he goes looking for him again, only to observe solace in unexpected quarters.
Anyone hoping for a rose-tinted dearest story will come away feeling more than a little disappointed, though Lifshitz refuses to compromise the sexual aspects of his ain screenplay (co-written with Stéphane Bouqet): Elkaïm and Rideau are completely nude in several sequences, and there's a memorable, total-on sex session amongst the sand dunes which should satisfy all merely the nigh ardent porn-watcher. Simply the boys' attachment is complicated past their relationship with their respective families, especially Elkaïm, who feels unable to declare his burgeoning sexuality because of a recent tragedy which has driven his father abroad and bars his mother to her sick-bed. Sorry, complex and not a piddling frustrating, the movie works its magic in quiet ways, just it's a little too cold and dispassionate to satisfy all tastes.
Nicely produced on a pocket-sized budget, the movie also stars Dominique Reymond, Marie Matheron and Laetitia Legrix as the three women in Elkaïm's life (female parent, aunt and sister, respectively), along with Nils Ohlund as i of Rideau'south former boyfriends, who figures heavily in the narrative'south closing stages. The two leads are fine in difficult roles, and both accept go iconic figures in European gay cinema: Rideau starred in such well-regarded Queer movies equally WILD REEDS (1994), Full SPEED (1996), TRANSFIXED (1997), SITCOM (1998) and Three DANCING SLAVES (2003), while Elkaïm - who looks similar a Bel Ami porn beauty - besides appears in the gay-themed drama YOU'LL Go OVER Information technology (2002) as the love object of handsome Julien Baumgartner (SEXY BOYS). Managing director Lifshitz fabricated his feature debut with the French Television receiver production LES TERRES FROIDES (1999) following a series of short films with Queer themes, and his latest entry is WILD SIDE (2004), another perceptive exploration of omnisexual angst.
(French dialogue)
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A Second Chance at Finding "Something"
B24 10 May 2004
Warning: Spoilers
What seemed at starting time just another introverted French moving picture offer no more than baleful sentiment became for me, on second viewing, a genuinely insightful and quite satisfying presentation.
Spoiler of sorts follows.
Poor Cedric; he apparently didn't know what hit him. Poor audition; we were at start defenseless up in what seemed a really beautiful and romantic story only to be led back and forth into the dark reality of mismatch. These ii guys only didn't belong together from their first ambiguous encounter. Equally much every bit Mathieu and Cedric were sexually attracted to each other, the absence of a deeper emotional necktie made it impossible for Mathieu, an intellectual being, to observe fulfillment in sharing life with someone whose sensibilities were more attuned to funfair festivities and romps on the embankment.
On a purely technical notation, I loved the camera action in this picture show. Subtitles were totally unnecessary, even though my French is "presque rien." I could lookout man it once again without the annoying English language translation and enjoy information technology even more. This was a polished, very professionally fabricated movement picture. Though many scenes seem superfluous, I rate it nine out of ten.
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Its French championship couldn't exist whatsoever more accurate if it tried
Alert: Spoilers
You read the plot outline for this and think, "oh, skillful, finally a realistic gay film that tries to make people aware of what gay people go through a lot of the time". At least that's what I thought when I read it. Merely soon as I began watching the movie I felt like some big con was pulled on me, having been taken in by the sparkly text and histrionics surrounding this film. As much as I love France, I do have a love information technology or hate it relationship with their picture show industry, given their rather avant-grade nature, which works on a lot of occasions and doesn't work on a lot of others. So I establish it very hard to stay awake during this flick, and I accept a very long attention span heed you, and can commonly stand ho-hum-paced films. But this film isn't even deadening paced, it has NO pace at all. And that isn't even the worst affair nearly it
For 1, I found myself wanting to purchase a plane ticket to France for a third time to see if hot gay French guys really are only attracted to the male equivalent of a plain jane, considering Cedric and Matthieu seem to accept a very high sex bulldoze and half of their scenes together feature them either naked or having just finished sex. The i outright sex activity scene is not hitting at all and reminded me of the sex activity scene in the 2003 disasterpiece "The Room" (except at to the lowest degree I could laugh at now poorly done that scene was). Thankfully nosotros do get to run into their dongs, but the scenes are also darkly lit. But information technology'southward not merely the sex that'due south painful to watch. The stiffness (no pun intended) of the acting and dialogue (at least the 10 minutes of dialogue there is) but painful- in fact, almost all the actors hither seem to exist just in information technology for the paycheck and grumble through their lines as if French is their fourth language and given the script, or lack of, it is hard to arraign them. Stephane Rideau tries to lighten things up a bit and salvage it, but even he can't. He's the only role player here who appears to exist enjoying what he'south doing
Merely generally besides just how boring the moving picture is, is what the film suffers from nigh. I mean exercise we need to watch five minutes of a family eating spaghetti in silence? Do we demand 5 minutes if a cat eating spaghetti? Practice we need two minutes of the lead actor rubbing his penis? Do nosotros need 5 minutes off he lead thespian staring off into infinite? Seriously if you cut down all the fatty, the film would probably be 30 minutes long. Believe me, the emperor truly has no clothes
I realize non a whole lot of movies exercise the gay community justice, but in that location sure are a lot better gay movies out there. Truthful that a lot of them are formulaic rubbish but even and then a lot of them Are a lot better than this
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Deeply Moving
It seems that what French cinema does best is slice of life drama. Come Undone is one such drama, yet manner in a higher place the quality that nosotros've come to expect from the genre.
Managing director Sebastien Lifshitz slices the narrative, then pieces information technology together in a manner which is at first disruptive but which ultimately adds much to the emotional tone of the film. The coming together and parting of two boys in their tardily teens is related without offering much in the way of a clear caption as to how or why. The emphasis beingness on the troubled emotional journey one of them undergoes as a consequence of the unexpected dear relationship that develops.
Too his bully cinematic eye, Lifshitz'south major success is eliciting from both Jeremie Elkaim and Stephane Rideau totally convincing performances. There's not i false annotation sounded. The smaller parts besides are handled well.
A deeply moving, beautifully played, complex film. One that certainly warrants more than than i viewing.
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Superlative Ten List
Alert: Spoilers
Somewhere, out there, there must be a listing of the all time worst gay films every made. One's that have overlong camera shots of the stars sitting and staring pensively into infinite, or one's where they focus unbearably long on kitty kats eating spaghetti. This motion sickness flick is a story of a boy and a boy and they alive and love and swim and get stuck in grottos and 1 of them has a depressed female parent and another has no mother and they talk and walk and swim and accept sex and go drunk and then interruption upward and someone goes to the hospital for eight days and then gets out and in that location is a lot of fast forrard and rewind and in that location are long pensive shots of i of them looking into space or just sitting and doing nothing. I retrieve information technology's some sort of gimmicky picture making technique or peradventure information technology's that the film is so bad they accept to fill it upwards with long, wasted shots because otherwise if they had to rely on plot or story the film would be about 14 minutes. Don't become me wrong, this is about the 30th gay movie I"ve watched in the past 6 months and some of them (most of them) have been very formulmatic, predictable and boring but this is 1 is really a terrible waste of time. The best i then far was "Beautiful Affair". So, I watched this and after the very offset opening shot which lingered and lingered I thought "Oh, no, its going to be creative sinny mah" But I gave information technology a chance and watched it and and so when information technology ended I tossed the DVD in the trash. Sorry I didn't like it and if you did, deplorable if I offend.
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Come unnecessary
Presque Rien loses its audience through haphazzard changes in timeline, uneven management, extremely dark visual tones and a succession of scenes that are at to the lowest degree twice as long every bit they should have been.
This all makes it virtually impossible to form any empathy for the characters and left me feeling extremely disappointed.
Thank God I hadn't paid to come across it at a cinema.
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Very Realistic
Warning: Spoilers
This pic was more of a passage into manhood for one gay homo, and how he must deal with everyone. His mother is depressed, his younger sister is a pain, his older sister is somewhat accepting. The relationship looks good with his swain/exhooker and he leaves his family to try life with this commencement guy. Unfortunately, the new guy screws around on him and says it really didn't mean anything. Our young gay human being goes bonkers and ends up in the looney bin and somewhen leaves, dumping his new lover and starting over. We are left with him starting over and viewing, non participating, in happiness. So maybe things volition go better for him in the future. The ending was kind of a downer only the whole movie was entirely realistic and then I volition let this real catastrophe slip farewell with a high rating.
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If what they actually want is love, can sex be sufficient?
Director Sébastien Lifshitz trusts in incomplete junctures, ruptured times and constant flashbacks to create a narrative line that encircles the most significant moments in the life of Mathieu, the protagonist. Without post-obit habitual guidelines, the story begins a couple of years after the main events of the film, and through long flashbacks the viewers sympathize that Mathieu is hurtfully unraveling and that his boyfriend Cédric has already been bars to the by.
At the very start of the film we larn that Mathieu has attempted to commit suicide, that he has no intention of continuing his relationship with Cédric and that, in spite of information technology all, once he leaves the hospital he will visit the beach in which the 2 of them met for the first time.
But how exactly was that first encounter? The get-go flashback scenes are somehow cold and neutral, they follow the protagonist like in a documentary, without providing the audience with crusade of business or any existent emotional binding: Summer is reduced to tediousness, to a routine in which the photographic camera is fixated on Mathieu's daily affairs, nosotros understand that besides pond in the sea, smoking in his bedroom and jerking off in the bathroom in that location is not much going on in his life. When Mathieu is lying on the sand, the presence of some other boy distracts him. Later perusing each other at the beach, the 2 teenagers finally find the courage to meet. For Mathieu, this is his first homosexual experience, for Cédric (interpreted by Stéphane Rideau, a almost influential figure in contemporary French gay picture palace) it isn't.
There is an intense passion between these two youngsters. As they commencement spending more and more fourth dimension together, and as things speedily progress into the realms of sexual practice, presently Mathieu'southward relatives get suspicious. Mathieu's female parent is deeply depressed and her son doesn't want to upset her past coming out of the closet. His sister, however, knows exactly what's going on from the showtime.
If there is something singular in Lifshitz's treatment of gay characters is how natural information technology's for them to be true-blue to their true nature. Here accepting homosexuality is never a big deal, revelations are never a dramatic scene and they never involve crying or excruciatingly painful dialogs. The real drama comes from the lack of a paternal figure, id est, the lack of fatherly authority. With a depressed mother that lives in a world of her ain equally a result of the pills she takes, and the complete absence of the male parent, Mathieu is complimentary to do every bit he pleases. But he's never truly gratis, for freedom really means an emancipation from fatherly figures, and such emancipation can never be possible if at that place are no fathers at all.
For Jacques Lacan the 'nom de pere' was the constabulary of the father; even when a single mother is raising her child, she will be able to summon the proper noun of the father and invest herself with an authority that comes from that tautological figure that does non need to explain or justify, that needs only to say 'no because I say then'. Conspicuously Mathieu has an unresolved disharmonize with the man he never sees, the man that has as well abandoned her mother when she needed him the about. Oh sure, he'southward working hard to provide for the family, and that seems to alibi him. Only when Mathieu tells the truth virtually himself to everyone, he has no intentions of sharing that intimate admission with his father. If the male parent is absent, there is no authorisation, and because of that, Mathieu is dislocated.
Cédric has a father but his human relationship with him is distant. He's independent, and since his independence came at a great cost, he has been able to surmount the need to obtain his male parent'southward approval; in fact, family is something he no longer craves for. When Mathieu and Cédric decide to live together in Nantes, all family ties are severed at once. Merely the unresolved Oedipal conflict volition gravely distress Mathieu.
The nonexistence of the male parent tin can be designated as a structural emptiness that would preserve the office of desire. For the neurotic, the 'lack' is commonly occupied by the demand, which on one hand protects against the enigma of the Other'southward desire, while at the aforementioned fourth dimension preserves the 'emptiness' that is necessary for the function of desire –of form at the expense of dissatisfaction; afterward all every demand (which is ever constituted by signifiers) is a imitation demand, a deceiving 1 (of form, it is the subject area himself the first to be mislead). Cédric demands the unceasing presence of Mathieu merely he does non enquire kindly for it; Mathieu's original plans were to return to Paris, simply faces now a disjunctive, if he obeys the demand he will simply get dissatisfied but if he doesn't his relationship fails and the emptiness reappears. This demand cannot exist satisfied as it echoes the emergence of the subject through the signifier: the part of the signifier requires the effacement of its own traces. In this instance, the motivation to move to Nantes should have come from Mathieu and not from Cedric.
Afterwards many flashbacks and prolepsis, we come to a moment in fourth dimension in which everything else has been left backside. Some might say that the this is a blink of hope equally Mathieu might discover another companion in Pierre (yet another fatherless individual). But if there is one final fundamental revelation is how the 2 young men are preoccupied as they see a child playing alone in the beach until they realize the father is in a motorcar nearby. Whether we want it or not, fathers nevertheless play an important office in our lives and in the way in which nosotros define ourselves; accepting them or opposing them, they are still the say-so that we follow or defy, and without that authority, existential doubts might return us motionless.
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Cute in cinema and soul
Stephane Rideau was already a star for his bout de force in "Wild Reeds," and he is one of French republic's biggest indie stars. In this motion picture, he plays Cedric, a local boy who meets vacationing Mathieu (newcomer Jamie Elkaim, in a stunning, nuanced, ethereal performance) at the embankment. Mathieu has a circuitous relationship with his sick mother, enervating aunt and sister (with whom he has a competitive relationship). Soon, the two are falling in love.
The film's fractured narrative -- which is comprised of lengthy flash-backs, $.25 and pieces of the present, and existent-fourth dimension forward-movement into the time to come -- is a trivial daunting. Manager Sebastien Lifshitz doesn't bespeak which time-period we are in, and the story line tin can be hard to follow. But stick information technology out: The film's final 45 minutes are so engrossing that you lot won't exist able to accept your eyes off the screen. Past turns heart-breaking and uplifting, this flick ranks with "Beautiful Thing" every bit must-meet cinema.
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A serious disappointment
This is a much heralded film in the Gay and Lesbian film circles. Although the bandage is pleasant to wait at and the film exhibits cutting edge directness regarding sexual practice, it is, unfortunately, a seriously flawed film. The story is not really very complicated and therefore, non very engrossing. The script takes usa nowhere and I, for ane, was left scratching my head at the stop of it. Information technology is perchance worth seeing for certain aesthetic reasons, but if you are looking for deeply moving drama, forget information technology.
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First-class coming of age story
Most Hollywood movies fail to capture the full range of experience of teenagers. This motion-picture show demonstrates exactly how to exercise it right. It combines elements of sense of humor, suffering, rebellion, etc. in a manner that is comlex & sympathetic. The catastrophe could be a fleck clearer, just the fact that the director doesn't spell everything out for you in accelerate before coming to the determination means that this movie assumes a more than intelligent viewer.
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A Mix of Scenes Leading Nowhere
French is my outset linguistic communication and then obviously, no barrier on that front end and I often enjoy moody and slow flicks featuring gay themes with some explicit parts thrown in but this is non ane of them. Starting time, the skillful points are that the acting is quite practiced and the cinematography is realistic yet effective. Now on to business with the bad and there is plenty I'm afraid. I don't really become all the adept reviews for this and information technology might be an acquired taste merely different many other movies I've seen multiple times, this makes a perfect candidate for the i off just never once more category.
The story could take been interesting but the choice of editing scenes in a dorsum and along manner through time is confusing at best and annoying at worst. It took me a little while to see that I was supposed to judge which part of the master lead's timeline I was watching, some clues being the hair lengths. Just it became tiresome apace and at some point, I started to fast frontwards through $.25 and parts which never made me feel like I missed anything.
I sympathize that French movie theatre is oftentimes less narrative and often prefers to settle on moods and atmospheres to set up a story merely there needs to be a clear indication that a jump back in time has been fabricated nevertheless every scene was homogenized in terms of editing therefore creating a jerky feeling of losing track of the story through disruptive precipitous cuts. If information technology had been but flashbacks information technology could accept been less baffling but scenes seemed to be put together at random through a back and forth motion through time.
The cease was in no way satisfying and I'm all for not tying every loose ends in a scenario only the viewer needs something to latch onto otherwise the whole exercise becomes rather pointless. Some might debate that we're left to our own estimation merely this simply fabricated me feel similar the writers were too lazy to come up with a proper way to tie up their story and I use the term loosely.
The number one reason why this doesn't actually piece of work for me is the lack of a proper structure to construct an enticing story. Putting together aimless shots in jerky cuts while hoping to convey a coming of historic period scenario doesn't quite work in my book. I was hoping for more and I was disappointed. And so three is the only rating this affair will become from me.
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Mayhap I didn't get it.
I was actually looking forward to seeing this movie, but, truth be told, it didn't impress me all that much. Basically, this is a story of first dearest, or, more specifically, first GAY dearest. The scenery was beautiful, the bodies bronzed and gorgeous, merely the performances were OK and the management was average. I found myself dozing off during the many loooooong takes of various scenes (i.e., did we actually demand to see the cat eating the spaghetti for more than a couple of seconds?). For me, I would rather have seen more than interaction between the two young men. I really didn't care that the caretaker/best friend character was a lousy cook. That scene where everyone is sitting effectually the table talking nearly how no one likes her food was, like, So WHAT! That was my primary problem with this movie: too much time was spent on things that had no direct connection with the story and were, in reality, rather distracting and boring. As someone who has experienced offset gay love, I was hoping this movie was going to speak to me more candidly, but, unfortunately, information technology served merely to get me in the mood to become to slumber.
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A waste of fourth dimension
This story of a summertime fling between two young men remains just that and doesn't go anywhere. The supporting bandage brings aught to the plot, likewise every bit many scenes which practice not contribute annihilation. The chief character is depressed for no reason whatsoever and you lot will be too, because you will exist left waiting for an explanation.
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A Meditation on Mood and Impression
Warning: Spoilers
I agree that the picture show is a little slow at spots having many scenes of mundane everyday life and no dialog. And I wasn't impressed right after I watched it. Withal, after a few days, I realized that the motion picture stays with me and it evokes a melancholy mood which lingers in my mind. My appreciation of this picture show increases. It certainly claim a higher consideration than those movies that are instantly forgettable.
Equally many have commented, the movie is non-linear and that's a authentication of European film-making every bit opposed to the linear narrative course that Hollywood favors. I don't really know whether it's true or not. Many also dislike its confusing structure and lack of clear explanations. To those viewers, I don't think there is much I can say to change their opinions. Still, for others who have however to see the film, DO expect to be challenged and DON'T wait the film to supply all the answers and you might come away enjoying it more than than yous would otherwise.
The movie skips around a scrap but actually chronicles simply 3 time periods. Pay attention to the hair way and you tin can easily separate out 2 of the 3 periods. It is also non every bit confusing as suggested; just enjoy and it'll all be articulate at the finish.
Yes, lots of things are left unsaid or non shown, and lots of situations are left unexplored. Only isn't that what life is like? A lot of time you're non sure of the motives of your friends/loved ones unless you confront them and even then, you tin can never exist 100% sure if they told you the whole truth. This type of movies forces us to interpret the reasons behind the actions. The moving picture does, nonetheless, leave enough hints for you to brand some reasonable assumptions. For example, Mathieu is manic depressive, to the betoken of suicidal. Why? I don't know, perhaps his life is not turning out exactly as he expects it; maybe he misses his family but hasn't forgiven his father for abandoning his ill mother at her hours of need; perchance after all he sacrifices for Cedric, rearranging and indeed, shattering his life to be with him, he realizes that it is all "coming undone". I recall the director meant to show us that he has always been a little off, mentality frail by that scene w/ the dead bird. Perhaps he has a very sensitive psyche and all these stresses are taking a toll on him. But we're besides shown that he is non some animal torturing psycho by his loving interaction w/ the stray cat. Too, at that place is ane conversation between the doctor and Cedric that sheds light on the reason backside the breakup and maybe the suicide try. The doctor asks him if everything is okay, and Cedric thinks and so even though he cheated on Mathieu once, only that's zippo, co-ordinate to Cedric. Is that the only reason, nosotros don't know, there are probably others, all mixed upwardly together. Is it paramount that nosotros know exactly what they are? I don't call back so, for this movie. Some other telltale sign that they are ultimately not compatible is the historical ruins scene. Mathieu is interested in studying the ruins, Cedric is not. He is the one w/ the raging hormone who focuses only on the physical side without an intellectual side that Mathieu plain needs.
Finally, the ending is really rather hopeful and sweet. I was pleasantly surprised past the plow of events after the bleak tone that edges toward the end.
I accept 2 complaints for the DVD. 1 is the audio. It'southward very soft. I had to crank up the volume to hear the dialog and then when it switched to a bar or outdoor crowd scene, it became too loud. The other is that the subtitles tin can't exist turn off; they stay on the screen. Most strange movie DVDs non released by a major studio are shoddy this mode unfortunately.
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Poignant, exquisite, and wonderful
This motion-picture show has everything. Emotion, ability, affection, Stephane Rideau's adorable naked beach dance... It exposes the need for real inner communion and outer communication in any relationship. But because Cedric and Mathieu are a couple who happen to be gay doesn't mean there isn't quite useful insight for everyone in it. I would probably classify it as a gay movie, but one that can be appreciated and loved by heterosexual people as well as homosexual and bisexual people. Mathieu's incapacity to handle his emotions divulges the way our social club doesn't encourage united states of america to human activity whatsoever differently, and that is what engenders the discord betwixt him and Cedric. This is definitely a must-see!!!!
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GETTING IT RIGHT
Come Undone is a modern archetype, done boy meets boy style -- this is a movie that is completely unapologetic in the equal importance that lends itself to sincere love, even betwixt two young men. My favorite moments are the silent ones in this movie -- a glance of knowing, moments of pure passion and just beingness together -- this picture shows the quiet moments of this romance in a most honest, first-class way. Stephen Rideau gives yet another completely realized performance as a young gay homo who has lived a less than perfect life and knows his pure need for honey. This is the kind of movie that can confirm and assure that beloved is important and deserved -- no matter who is your object of amore.
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Source: https://www.imdb.com/title/tt0242795/reviews
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