Rust and Bone
Put in charge of his young son, Ali leaves Belgium for Antibes to live with his sister and her husband as a family. Ali's bond with Stephanie, a killer whale trainer, grows deeper after Stephanie suffers a horrible accident.
I've watched a lot of amazing films in 2012, but none have rendered me completely helpless by the sheer force of its brilliance like Rust and Bone. At times, this film is viscerally violent and in your face, at others it is gently detached. It's a testament to this film's power that it can bring out the strongest of emotions with a single human gesture. There is a great story worth telling here, but the telling of it is where it really shines. Audiard demonstrates his considerable talent, as he's able to show restraint at the right moments and let the film soar to unfathomable heights at others.
Ali is a twenty-something MMA-style fighting…
At this point I should just give up guessing at what Jacques Audiard may be up to with his films. Whatever my expectations are, he's almost certainly going to subvert them. I went into A Prophet anticipating a hard-boiled prison/gangster movie, and what I got was a poetic mishmash of violence and spirituality concerning the Darwinian struggle of the French immigrant class (oh, and I also got one of my favorite movies of the last several years). With his new film Rust and Bone, I had expected something along the lines of "Marion Cotillard loses her legs but the the dude from Bullhead helps her find her heart." What I got was... wait, what did I get exactly? Certainly nothing…
Rust and Bone comes with lofty expectations, expectations the film struggles to match. Directed by Jacques Audiard, the man responsible for the mesmerising A Prophet, and backed by near unanimous critical praise, I had high hopes for the film yet it is a piece of work that feels in constant conflict with itself. The story revolves around two damaged people, one a poor single father who competes in brutal illegal street fights, and the other an orca trainer who loses both her legs in a freak accident. Frankly the synopsis sounds like a clumsy amalgamation of TV movie of the week style disability porn and Rocky on the Côte d'Azur, it doesn’t sound like the sort of thing one of…
All this time we spend telling stories about, and hoping to be, heroes, and it’s easy to lose sight of how powerful we are just being alive. How the bravest are not always knights, how often they don’t know who they are.
How sometimes, they’re an unemployed father with more testosterone than paternal instincts, or an intoxicated girl in a club teasing men for validation. They’re Ali and Stéphanie, and they’re not perfect. Sometimes, they're not even good. Sometimes, Ali gets a little aggressive with his son, and Stéphanie takes a lot more than she gives. But one day, a severe accident takes both her legs from her. One day, his son’s mother makes her exit and he is left…
Let's get this straight: A whale trainer losers her legs in a work related accident and falls for an amateur kick-boxer; cue Katy Perry's 'Firework' et voila! - Not as ludicrous as it sounds.
Jacques Audiard follows up his highly (and rightfully) praised 2009 'A Prophet' with a premise that seem startlingly out of left field, yet this is quite a thoughtful, provocative and poetic character study that whilst a little messy, has a raw and romantic naturalism that dares you to be moved.
Marion Cotillard delivers a brave and sexual performance as she attempts to courageously rebuild her life after losing both legs, but equally impressive is Matthias Schoenaerts, a tortured soul that has not the maturity nor responsibility…
Has the feel of an exquisite corpse story streamlined with melodramatic contrivance. 3-ish bad scenes and no memorable ones.
Such a beautiful film with a beautiful heart and story to tell, if you love french films and satisfying character arcs and heart breaking drama, then you'll love this film. Gah, I cried.
I watched this film in segments, not straight through.
The performances are fantastic, but I don't think I've quite made up my mind about the movie as a whole.
Not my favorite aesthetic but still often very beautiful despite itself. Bonus points for female gaze stuff.
First things first. Marion Cotillard and Mathias Schoenaerts are great! They both put down amazing performances. The best I've seen of them, so far.
Now let's get down to bussiness. The story is amazingly written. If there's one movie that can teach how charactar development should be, it's this one. A socially handicapped fighter and a caring, physically handicapped woman grow together. It's a daring but beautiful combination.
The cinematography is amazing. Beautiful shots and wonderful lighting underline the emotions of the charactars even if they don't know what they're feeling themselves.
An unpredictable feast of a film, It had the similarities of The Intouchables. If these are two french films to base my opinion on french film on then its; high. I really enjoyed the ultra real and raw scenes, with some; near the start (not to give too much away) shocking and making me wince. Fear is not something explored its just executed in this film. Clever and simple story, really really enjoyable.
A very strange combination of Blackfish and Intouchables, with a little Here Comes The Boom thrown in, that works just about as well as might be expected. But it's French, a characteristic the filmmakers no doubt believe is all the cohesion necessary, so cue the aggrandizing self pity, the justification for mental and physical child abuse, and the awkward emotional subtext all in the name of high art.
Marion Cotillard plays Stephanie, an Orca trainer at a water park who loves to dance with the whales to a Katy Perry song about the Fourth of July (similar to all those French pop songs we listen to in the states about Bastille Day). One day she gets her legs torn off…