2006 ‘Ne le dis à personne’ Directed by Guillaume Canet
A man receives a mysterious e-mail appearing to be from his wife, who was murdered years earlier. As he frantically tries to find out whether she's alive, he finds himself being implicated in her death.
François Cluzet Marie-Josée Croze Kristin Scott Thomas François Berléand André Dussollier Marina Hands Jean Rochefort Guillaume Canet Olivier Marchal Florence Thomassin Philippe Lefebvre Gilles Lellouche Nathalie Baye Dorothée Brière Brigitte Catillon Samir Guesmi Jean-Pierre Lorit Jalil Lespert Eric Savin Éric Naggar Danièle Ajoret Daniel Znyk Laurent Lafitte Mikaela Fisher Thierry Neuvic Christof Veillon Anne Marivin Sara Martins Jean-Noël Brouté Show All…
Kein Sterbenswort - Sag es niemandem!, No se lo digas a nadie, Ne Le Dis A Personne, Fortæl det ikke til nogen, Berätta inte för någon
Films that rely a lot on twists and turns are probably the most difficult to write and direct, not only do you need a good command of cinematic language, but you also have to be as proficient as possible at creating confusion, akin to being a magician. But at the same time, of course, in the case of a thriller, you must also know how to maintain tension because there is no point to so many twists and turns if the audience doesn't care.
With this in mind, the directorial debut of French actor Guillaume Canet (The Beach) is not exactly a masterpiece of the genre, but it does deliver and shows his potential as a director and screenwriter. The…
Apparently this was going to be a Hollywood film first, but director Canet convinced the author of the novel it is based on that he should direct it. Thank God he did, I fear we would otherwise have missed out on one of the best thrillers of the last ten years.
This film is perfectly scripted and fantastically acted. It starts with a familiar conceit, but by slowly feeding you pieces of an intricate puzzle it manages to keep your interests peeked and your curiosity satisfied. The characters are fleshed out really well and they feel real and that helps lift this thriller, which at its heart feels more like a love story, with its head and shoulders firmly above its peers.
There is a point in Tell No-One, about half an hour from the end, where you realise pretty quickly that this isn't going to end well. And by that, I don't necessarily mean for the lead character - I mean the film itself.
In this day and age, any film that ends with the unmasked villain sitting and confessing his sins and why he has done what he has is almost unforgivable in my eyes. In this case, the chap in question might as well have just come out and said, "And I've gotten away with it, too, if it wasn't for that pesky François Cluzet!" Except in French, obviously.
But it's a sign of how well this film progresses…
Damn, this movie is absolutely riveting. I was alllllll the way sucked in from the beginning as this taut mystery unfurled in tense and satisfying fashion.
Imagine The Fugitive, but more layered. It also has a couple of elements that are somewhat reminiscent of Gone Girl "with a twist."
This is now my 2nd film by writer/director Guillaume Canet - both have been excellent. Canet is an amazing filmmaker. He truly has a talented "eye" when it comes to camerawork and narrative decision-making. I'm now even more excited to watch Little White Lies 2 soon!
Also, Francois Cluzet is quickly becoming one of my favorite actors. His performances aren't just phenomenal, they're palpable and memorable. I love his intensity. I love him. It isn't surprising that he stars in one of my all-time favorite films (The Intouchables).
A twisty-turny French thriller (based on the Harlan Coben novel of the same name) about a man wrongfully accused of killing his wife.
I dig the American style with a Parisian touch, Le Fugitivé if you will, even though I had to rewind the film a few times to fully understand wtf was going on.
Also, Kristin Scott Thomas is everything 🙌
French filmmakers have long been drawn to American crime writers. Jean-Jacques Beineix, Claude Chabrol, Rene Clement, Jean-Luc Godard, Bertrand Tavernier, and Francois Truffaut have made films drawn from such writers as Stanley Ellin, David Goodis, Patricia Highsmith, Ellery Queen, Jim Thompson, Lionel White, Charles Williams, and Cornell Woolrich. With the notable exception of Highsmith and Thompson, these writers primarily turned out pulp fiction, emphasizing plot over character, though the filmmakers often expanded their sources to give the resulting films greater philosophical and psychological depth.
The source of Guillaume Canet’s Tell No One is a newer generation of American crime writer. After writing several mysteries following sports agent Myron Bolitar, Harlan Coben published a darker novel in 2001 in the vein…
2011 wurde François Cluzet durch "Ziemlich beste Freunde" international bekannt. Der Film, welcher auch ein amerikanisches Remake erhielt gilt als Paradebeispiel der Tragikomödie, unter anderem wegen Cluzets Schauspiel. Doch der zeigte schon lange zuvor welch beeindruckender Schauspieler er ist. Eine dieser Kostproben findet sich im Psychothriller "Kein Sterbenswort" von 2006.
Französische Thriller werden unter dessen bei mir immer beliebter. Sie bieten immer wieder Hochspannung und gute Actionszenen. Eben das, was man im amerikanischen Kino immer mehr vermisst.
Dabei wirkt "Kein Sterbenswort" über weite Teile wie ein französischer Dr. Kimble verschnitt. Der Vergleich drängt sich nicht nur deshalb auf, weil Cluzets Alexandre Beck ebenfalls im medizinischen Bereich tätig ist. Auch ihm wird versucht ein Mord, wenn nicht sogar mehrere Morde in…
Francois Cluzet really had to act for this one, which is something to appreciate, and for a french thriller it was a whole lot of thrilling; specifically because of the pacing, it was right on the money, although it’s a long movie.
There’s creativity in the chase scene, plus the action that takes place in the streets was realistic and unsettling. The mystery as to what’s going on is unraveled to us bit by bit, and although it’s a coherent story I was disappointed that as an audience I wasn’t in on it in in anyways, I couldn’t possibly guess what the mystery was except for a couple of minor details, that made me feel sort of disconnected and uninvolved.
This is standing in between the o.g. version of the Vanishing, and Gone Girl, and turned out to be the most mediocre of all. The premise is somehow outdated, and it’s very typical thriller with usual tropes, one of it that it’s concluded with long confession scene, boring. Too much characters it’s really hard to follow, also it’s contributed much confusions to the whole already convoluted & contrived plot. As for a story concept that of everything is more than meets the eye, the revealing feels disjointed as it’s never fully presented the whole characters to us at the beginning, especially how all those people having significant relations to the main character(s), hence when it’s revealed it’s just.. eh? Meh.. no emotional…
Tell No One is an ambitious film, laying out one of the more complex webs of lies and deception that I've seen in a film. It took me a while to get into it as the web of lies and deception is so grand that it takes a considerable amount of time to construct the fine details that surround the film's basic premise, let alone explain how they're tied together. The payoff, however, is really worth it and by the end the film has tied things together immaculately. Roger Ebert described this film's plot as "hermetically sealed" and he is spot on.
The intrigue that the plot itself creates is definitely the crown jewel of this film and to me…
Врач Александр Бек (Франсуа Клузе) во время ночного купания с женой получает битой по голове. Следующий раз мы видим его 8 лет спустя. Тело жены нашли, он всё еще безутешен, но пытается как-то жить и работать. И вдруг ему начинают приходить весточки с того света. Да еще и полиция вновь начинает копаться в старом деле, и тут уже главным подозреваемым становится Бек. Приходится пуститься в бега, чтобы самому докопаться до правды.
Просмотр откладывал много лет из-за обложки и сюжета, слишком уж похожих на "Беглеца" с Фордом. Оказалось, у Гийома Кане, который сам ненадолго появляется в мини-роли перверта, сюжет всё же посложнее. Мастерски снятый и хорошо придуманный триллер с классным саундтреком, заслуженно получивший "Сезары" и высокие оценки критиков. Остался только один вопрос — зачем хранить (чеховское) ружье, из которого ты кого-то пристрелил?
