Search: Starring Emmanuelle Devos

Jacques Audiard's film isn't intended as a replacement for Toback's wild-eyed and masterly [Fingers], but rather a deliberately assured take on the same material.

A truly innovative piece of filmmaking which mixes cinema-verité style documentary with a knowing postmodern self-consciousness.

There is some verve in the early singing scenes, but overall I was left with the impression that breaking all those conventions was a long, hard slog.

Desplechin eases us into the goings-on without sacrificing any of Roth’s complicated and thorny subject matter.

Some of the plot twists strain believability but Ross has a tight hold of the film's emotional drivers, mixing moods like a heady and dangerous cocktail so that a disturbing tension builds.

Swann Arlaud as Yann Andréa and Emmanuelle Devos as Michèle Manceaux give tremendous performances that circle around discoveries of deep personal truths.

A movie that lets you be the judge of inappropriate behaviors and risks worth taking.

Despite its considerable length, it avoids overstaying its welcome.

There's a gentle feel-good sweep to Grégory Magne's French dramedy, which though it is built of familiar elements, remains a very watchable blend.

The juxtaposition between comedy and meditation on contemporary life does throw the viewer off-guard a little bit, but it is no the less effective for doing so.

The script avoids sentimentality. The performances offer little gratification to romantics.

The film hovers in the grey area of Astrid's psyche, with long takes, often focused on Devos' features.

There's a certain degree of decompression in its storytelling, and a willingness to jump in time and space, and though the two are strong there's a weird sense that these are the highlights and story beats of a much longer television drama.