Word: viewers
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Dates: during 1990-1999
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...played by Mausd Hansson. This is the most powerful scene in the film, and one of the most memorable in the history of the movies. Hansson's performance leaves one awestruck. She truly seems possessed, and the mad look in her eyes lacerating; it burns itself slowly into the viewer's memory, and, etched indelibly in fire, it becomes impossible to forget and is capable of giving one nightmares for days...
...observant viewer, however, it is obvious from the very beginning of "Jules and Jim" that something is amiss. Before the credits, while the screen is dark, Moreau's voice pronounces these words: "You said to me: I love you. I said to you: wait. I was going to say: take me. You said to me: go away." The mystery, the enigmatic, vaguely ominous prosaicness of Moreau's words spoken in darkness, undermines the brightness to come...
Johnny 's fury of ideas mingles with his explosive emotions to make him one of the most unpredictable characters seen in many years. Surprisingly, the viewer rarely wonders, "where is this film going?" The viewer understands the film follows Johnny 's aimless wanderings, but like, Johnny , the viewer sees the distinct change in the end, or so one thinks. By the end of the film, after the climactic moment of the abduction of Sophie by the pretentious, pompous, sex-crazed "landlord " Sebastian and the following attempts to kick him out of the house, Johnny returns from his many days...
...cohesive storyline the pace of the film is inevitably without a rhythm. Lacking a steady pace, the film is not believable enough for the audience to empathize with violence shown throughout the film. People die for reasons which seem unrelated to the story's progression. The violence makes the viewer shudder, but the viewer is repulsed even more upon realizing that the killing is more gratuitous than necessary to the progression of the film. Granted, the film makers could pointing to the absurdity of the killing that occurs, but it could be done in more subtle, or at least meaningful...
...this haunted fairyland, the director creates images of exquisite rightness from a pristine, pastel palette, lifting the viewer's senses into a delicate rapture. The mood, the pacing, the search for beauty in a harsh society are ever so -- how shall we say? -- Vietnamese. Yet the film was not made in Vietnam. It could not have been: the country has hardly any film industry. So Tran, whose family immigrated to France in 1975, when he was 12, and who describes his film as a tribute to "the freshness and beauty of my mother's gestures," shot the film...