Posts Tagged “6.6”


March 6, 2010
Cinequest 20
102 Minutes
Comedy / Drama
Mika Kaurismaki

This is the kind of comedy where a man, while getting orally serviced by his girlfriend for rent, tosses a lit cigar out his window onto dry grass, where a brush fire ignites, and as the man rushes outside wearing boxers and brandishing an extinguisher, he loses control of the hose and it sprays all over his face and the window before finally hitting its target. The crowd erupts in laughter. And…scene.

A couple in their 30s is divorcing, but neither wants to leave the lakeside house, so they decide they’ll both live there, as long as they live by a set of ground rules. Samples are, we split the bills, and, no new people allowed inside, which really means that they can’t bring their new lovers over. This rule lasts about an hour. The woman calls a former one-night-stand participant and he flies his seaplane over and docks it at the house. The man asks his pimp half-brother to secure the services of a prostitute who will pose as his new love interest. But she’s on the run from a scary female mob boss who accuses her of stealing some money.

The man’s best friend is some sort of blow-dried, tight-acid-washed-jeans wearing guy who seems to have a way with the ladies, if not with his toothbrush.

The entire plot is based around a divorcing couple, who through jealousy and kidnapping and a next door neighbor with a huge dog, find that they are better together than apart. There isn’t a single surprise, and the mood changes from madcap slapstick to serious tied-to-a-chair torture seemingly at random.

Skip this one.


The Cinequest Program Said:

It’s divorce: Finnish style.

In this wicked comedy, Juhani and Tuula, a successful family therapist and a business trainer, cannot practice what they preach. When they decide to divorce but continue to share the house, reason not only doesn’t prevail, long repressed emotions erupt like childish, playground tantrums. First Juhani brings home a bar pickup, infuriating Tuula so much that she gets even with a tryst of her own the next night. Juhani then ups the ante by hiring a prostitute who’s being tailed by the local mob that thinks she’s stolen a big chunk of their money, to pose as his girlfriend.

Director Mika Kaurismäki’s wild ride through domestic dysfunction not only earns its laughs, it also exposes the futility of false personas where matters of the heart are involved. Ultimately, love, in all its guises, is a part of the human condition none of us can do without.


6.6 IMDB


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April 11, 2009
Netflix DVD
110 Minutes
Drama / Romance
Catherine Breillat [Last Tango In Paris; A Real Young Girl; 36 Fillette; Fat Girl; The Last Mistress]
Frederique: Isabelle Renauld [The Last Mistress]
Christophe: Francis Renaud

The opening scene is the investigation of a murder. A man has murdered his girlfriend in her kitchen. Without emotion, he describes and re-enacts his crime with police inspectors. The rest of the film becomes a why-done-it.

We flash back to a wedding where an attractive 34-year-old woman toasts the new bride and groom, comments to a 20-something man that he’s grown since the last time she saw him, and is invited by that same man out to the garden where they sit on a bench and have a chat. The man, humorlessly, mentions that he’s dated women her age and that it’s no big deal. He will declare later that “our age difference is an injustice”, and right away he seems to be out to prove that the fact that she is twice married and has two children does not exclude her from his attention.

She looked to me like a French Diane Lane, so it’s not like she isn’t used to the attention of men. She seems strangely uninterested, but they begin an affair nonetheless. The man often remarks that he’s the mature one in the relationship. She wonders to his friends and sometimes to him, whether or not he’s actually gay. There are the early dates, the sloppy grope sessions outside her apartment, the juggling of parental duties and job duties (she’s an ophthalmologist–he made some money in his own company).

Because this is a Catherine Breillat film, there are scenes of sex which are long-lasting and awkward and vary in their success rate. At first they’re in a hurry to make love, later she requires more of something he can’t give. After sex, they do a lot of talking. We learn, seemingly, about every other person they’ve ever slept with. Again, weirdly dispassionately. They’re not bragging to each other, exactly, but this disclosure of past lovers seems to make no impression at all on the two of them.

The good times don’t last long. She’s a bit critical, he accuses her of keeping him on a short leash before she has the chance to. He misses his friends, misses the casual sex he used to have with his fellow clubgoers. She isn’t sure this young man is someone who should spend the night in her apartment with her children there. The sex slows down, the fights begin, the drinking starts, the vindictive comments hurt.

It’s not exactly a fun ride, but none of Ms. Breillat’s films are serene walks in the park. The fact that we know that this relationship will end in murder doesn’t hurt the story, but I’m not sure it helps it. We can see the mistakes we’ve made in our own relationships as we watch this. We can take one of the lovers’ side in their many arguments. We can wonder what one is doing with the other. We can wish we had someone as attractive as both of the leads are. But we always wonder exactly what could have gone so wrong for the man to kill his lover in a moment of passion on the kitchen table. Is there anything she could have done to deserve such a fate?

There are few body fluids this time out for Breillat. The man constantly drinks Coca Cola, as a shorthand to prove how much younger he is than she. He is cocky and rides a motorcycle. She is flippant with his love at first, and then ridicules his sexual powers later on. They are a bit of a miserable couple and we wonder why they stay together as long as they do.

His youth also results in the “I Love You” declaration way before we see it in the two characters and probably way before he actually means it. It’s one of the ways he forces what he wants to happen on a relationship where it might never happen. He flirts a bit inappropriately with her teenage daughter. He has boring sex with other women. She sits by while he chats up women in bars.

It’s all very angsty. But it also has moments of truth that anyone who’s been in a relationship can relate to.

“Breillat’s provocative drama charts how an idyllic affair between a divorcee — an optician with two kids — and a feckless, womanizing twenty-something leads to brutal murder. Though some may find the woman’s increasingly masochistic reactions to her young lover’s behavior questionable, the film is psychologically astute; just watch how the boy’s early curiosity about the woman’s greater experience slowly turns to insecurity and a determination to keep control. The performances are unsentimental, the tone uncompromising, and if the film ends up too schematic for its own good, there’s no denying its emotional punch or the intelligence of its dark insights.” — Time Out Film Guide 2007

6.6 IMDB

Perfect Love @ Amazon


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Written by Michael W. Cummins