Word: yvan
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...soldier's widow, Odile (the unimprovable Emmanuelle Beart), and her two children, 13-year-old Philippe (Gregoire Leprince-Ringuet) and 7-year-old Cathy (Clemence Meyer), are trapped, unable to move on a refugee-clogged road from Paris in 1940. When their car is destroyed, a mysterious youth, Yvan (Gaspard Ulliel), appears and leads them to a deserted chateau...
...there is something not quite right about him. He's abrupt, sullen, illiterate--and he cuts the telephone wires, effectively isolating them. An air of undefined menace begins to steal over the group, especially after Odile, for no explicable reason, yields to Yvan. It's a great scene; he closely studies her by the glow of his cigarette lighter because he has never seen a naked woman before...
...Bordeaux Frederic comes across his old jailhouse buddy, Raoul (Yvan Attal), the movie’s most likable character. Raoul agrees to accompany Frederic on his oblivious quest for Viviane, an adventure that introduces some new players to the exploding drama, like the pert schoolgirl Camille (Virginie Leodyen, who’s getting a little old to play these parts). Camille and Professor Kopolski (Jean-Marc Stehle), a brilliant physicist who happens to be Jewish and the object of her undying devotion, are trying to get to England with several jugs of heavy water that could wreak havoc...
...painting that Serge, a well-to-do doctor, has bought for 200,000 francs. His friend Marc, who fancies himself an art buff but hates the modern stuff, is appalled at the purchase and tells him so. Each of them tries to enlist the support of a third friend, Yvan, who has other things on his mind, mainly his approaching wedding. In the brief 90 minutes that French author Yasmina Reza's play takes to unfold, the three will debate modern art, lash out at each other with insults they will later regret, and generally explore the nature of their...
...overrated trifle: one of those small, schematic finger exercises that seem to win critical praise in direct proportion to their lack of ambition. The characters are all too easy to parse: Serge is a modernist but really a dilettante; Marc, a classicist who's a snob underneath; Yvan, an art-naif who goes whichever way the wind blows. The audience has little investment in the clash between them because their friendship seems implausible from the get-go: there's no explanation of how or why they became friends, no real sense of closeness. This might be tolerable if Art worked...