Synopsis
A single mother and a married man enter into an affair with the understanding that their relationship is purely sexual. Though they agree the relationship has no future, they find themselves increasingly drawn into each other's company.
2022 ‘Chronique d'une liaison passagère’ Directed by Emmanuel Mouret
A single mother and a married man enter into an affair with the understanding that their relationship is purely sexual. Though they agree the relationship has no future, they find themselves increasingly drawn into each other's company.
Chronicle of a Temporary Affair, 短暂的偷情纪实, Crònica d'un amor efímer, Tagebuch einer Pariser Affäre, Το Χρονικό Ενός Εφήμερου Έρωτα, Crónica de un amor efímero, רומן צרפתי, Egy röpke románc naplója, Una relazione passeggera, 어느 짧은 연애의 기록, Pamiętnik przelotnego romansu, Crônica de uma Relação Passageira, Kronika bežne romance, Krönika om en flyktig affär, Щоденник швидкоплинного роману, 短暫的偷情紀實
That montage of empty places made me consider my entire love life in seconds. Might have been a waste of a perfect ending
Some of the most meaningful things in life happen in between. Diary of a Fleeting Affair, the title itself lays it all there with spare simplicity, has most of what one should expect from a Mouret movie: the camera is always in the right place, the use of location couldn’t be better and Kiberlain and Macaigne, who are pretty much the only actors on screen for most of it, are wonderful. It is a movie predicted in what we are allowed to see, these two people are having an illicit affair, the moments we get to see are generally very good and at the same time the movie is hyper focused on them and very self-aware of what’s offscreen, that…
A parentheses that are open and closed (or not), not only considering the film’s love affair but also considering Mouret’s career. A minor film from him in scale, in many aspects a continuation of his concerns and motifs in ‘Les choses qu’on dit, les choses qu’on fait’ (in my opinion the high point in this new phase that started with ‘L’art d’aimer’), respecting a chronicle format and a refined, spare structure, not without leaving traces of absolute mastery of form, theme and mise en scène on the way. There is barely an intrigue here, the film’s evolution is purely fleeting and anecdotic, but it’s really beautiful to see Mouret’s trust on his actors, leaving them to carry the narrative and…
« ne pense pas que je sois triste, ça me rendrait malheureux. » - vincent macaigne, en route pour choper (enfin !) son césar
Très beau film, peut être meilleur sur la forme que sur le fond... La photographie est vraiment très plaisante, la mise en scène est précise et efficace et les acteurs sont tous deux très bons. Sur le fond, la relation entre les deux personnages, aussi originale et bien menée soit-elle se répète quelque peu dans chaque scènes. Néanmoins, la douceur du caractère de Simon et les nombreux dialogues aux aspects philosophiques donnent à la relation un aspect très touchant et plutôt original...
-charlotte …
-yes?
-[hesitates]
-you’ve forgotten what you were going to say?
-sorry…i almost got serious … too serious .
-we can be serious sometimes… it’s not forbidden.
when simon met charlotte, they agreed that their arrangement would be casual - as simon himself said, with us two, it was a sort of parenthesis. when we opened them, we knew we’d have to close them.
so the question was never whether or not sex would ruin a friendship, but rather, could casual lovers remain casual?
for some, it’s easy to separate the physical from the emotional, but for others (perhaps most of us), it’s not so simple. a paranthesis may open and close, but it's the words in between that give it meaning. even something as innocuous as la bise - given enough time - can come to mean something so much more. who we love is never a choice, only how we choose to express it.
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Film divinement écrit, à la mise en scène incroyable – la scène d'introduction est sublime par son plan séquence aux jeux de déplacements sensuels et envoûtants. Voir Vincent Macaigne et Sandrine Kiberlain courir dans la rue comme des gosses, les frissons...
cada vez que nos encontramos pensé que sería la última. siempre nos vimos. sin embargo aquí estamos. el momento ha llegado.
a veces no sabemos bien cómo acaba. o por qué acaba. simplemente sucede y quedamos solos y a ver qué chucha hacemos.
a veces nos reencontramos. los reencuentros son importantes y a veces son una mierda. por eso los epílogos me obsesionan y me destruyen. este no fue la excepción: ese gesto, ese guiño y homenaje a todo lo anterior para revivir aunque sea un chispazo es suficiente como para pensar que valió la pena.
es, sin querer queriendo, bastante personal. quizá por eso a M y a mí nos afectó tanto. otra mirada al romance y al deseo y al tiempo y como en ESA escena: a los lugares. y en fin, como dijo JR Ribeyro:
también mueren los lugares donde fuimos felices.