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…
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…
Guillaume Canet is fantastic. The utterly sensational Les petits mouchoirs was my first experience with the director and this film did not disappoint. It's one of the best thrillers of the decade.
Visually, the film is immensely beautiful. Every moment feels alive and unpredictable. The story unravels slowly and carefully, full of tension of subtle emotion.
Kristin Scott Thomas graces the film with her divine presence and François Cluzet is wonderful. The entire cast works beautifully.
It's terrific.
i think this has quickly become one of my favourite french films so far.
acting, cinematography and soundtrack are 10/10 and god, FRENCH CINEMA what else do you n e e d
One has to appreciate a good thriller that knows how to be patient and flesh out the set up in order to string the audience along the entire time. It's almost akin to a successful heist where the filmmakers have kidnapped the audience's intrigued. Which going with that metaphor it is one thing when they have obtained your intrigue but it is totally different on what to do with it now and how to keep hold of it. Tell No One for the majority of the time seems to know what to do.
While I say majority, the one aspect that is holding me back is a popular complaint regarding this film that its ending is much too convenient compared…
Employs numerous genre elements really well, but requires astute attention to follow some parts of the convoluted backstory.
(Movie: "It was [character name]" Me: "Who?")
A complicated, crafted and competent thriller.
There is a lot going on, but the balance and speed is undeniably on point. Le rock solid movie makin'.
Fantastically plotted thriller, exciting and mysterious with some delicious setup/payoffs, great camera moves and blocking, cool!
Tell no one follows your standard thriller guidelines but it does so in an almost perfect way. This is the kind of film that follows a certain set of rules that we are accustomed to and while it doesn't break any barriers or subvert expectation, it manages to do everything I wanted from a thriller and it does so brilliantly.
The plot follows a doctor, Alexander Beck, whose wife was murdered 9 years prior to present day and everything changes when he gets an E-Mail that contains CCTV footage that seems to imply that she is still alive. Written and directed by Guillaume Canet and co-written by Philippe Lefebvre and based on the book by Harlan Coben of the same…
A taut thriller in the vein of the fugitive. Although the acting is superb throughout, and the pace is near pitch-perfect many of the twists and the turns feel dis-jointed and uneven. This results in a huge data dump in the third act which wraps up 101 loose ends with a convoluted and indecipherable grand monologue. A shame really, considering that if the plot could have woven hints or details into the main story this could have been a near classic.
I have to remember to do a big favor for a criminal just in case I get framed for a murder. It really helps out. I remember KST talking about how she's too typecast in England, but she can play different types of people when she works in France. As far as the ending where they explain things, it was fine. Just one way to explain the intrigue.
we saw this in french class cause its our french teachers favorite movie and im sorry but she has pretty low standards
The movie was nice over all, but it would be better if it had 30 minutes off of it.
Adaptação (pelo próprio Canet e Philippe Lefebvre) do livro homônimo do escritor americano Harlan Coben.
Logo de cara é interessante ver que uma das obras mais famosa de um dos escritores que mais lança e vende livros na América foi adaptada por um francês numa produção francesa.
Afora isto, temos um longa que gasta suas energias querendo trazer todos os detalhes que Coben explicitou no livro. Quem conhece a literatura do autor, sabe que isto é uma tarefa perigosa. Ele adora encher as páginas de milhares de elementos e plot-twists com uma gama maior ainda de detalhes.
O resultado é uma duração excessiva (2h e 20 minutos) e certa complicação na mente de quem assiste.
O ideal aqui era, literalmente,…
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