Search: Starring Mathieu Amalric

The voyeuristic experience of watching their unpleasant exhibitionism becomes a very alienating experience and as a result it is increasingly difficult to engage with, or indeed care about, any of the characters.

For those who know and love Van Gogh's work, the effect is hypnotic, a translation of his vision into a new medium.

Alice Et Martin has all the ingredients of a wallow.

The best way to get the most out of the film is to succumb completely to the singer’s breathless voice, sultry eyes and her volatile genius.

François Gédigier's inspired editing trusts that mismatched sounds and images form an emotional whole.

Writer-director Yves Caumon notices the small details... and makes them count.

Self indulgent, nonsensical and soulless scenes are woven together into a sentimental fog that hovers above the surface of a faux world, past and present.

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

While Pattinson is to be commended for taking on such an un-commercial vehicle - to which he definitely does no disservice - it all seems a bit too calculated, more posturing than penetrating.

Like its subject, this is a film that takes time to develop.

Truly cutting-edge cinema, daring and imaginative, quite unlike anything else you'll see this year.

While there is absurdity aplenty on display here, the film also requires a very high tolerance for the broadest of humour and the slightest of whimsy.

What should have been a chamber piece for veteran writer/director Jean-Paul Rappeneau turns out to be a racer, neither in control nor out of breath.

What is quite wonderful in all this flowing and "fade, fade, fade," fading is that the characters and their stories belong to no one specifically. They belong to a cinematic spirit world and maybe nobody even wanted them.

An emotionally engaging tale that sucks you in with its gentle humour and melancholy.

The writer-director takes great enjoyment in playing around with his various obsessions.

How does Ismael have the derring-do to believe that all these women are there, like a bouquet, for him to choose from? He is an artist, of course, who creates his own reality.

Le Peron approaches it with the originality you might expect from the avant-garde.

Del Toro and Amalric with contrasting acting styles make a magnetic duo yet the ponderous detail of the therapy occasionally bogs down the film, so much so that even the two actors cannot surmount it completely.

If you're interested in the technical details of the sport or the process of filmmaking, you may find Julien Faraut's unapologetically artsy film fascinating.

Despite its considerable length, it avoids overstaying its welcome.

The performances are from the Be-Yourself-School-of-Non-Acting.

This is Depardieu's strongest performance for years.

It’s shock comedy with no sense of impact or context, because before you can let the shock set in, the movie is running full steam ahead toward another disgusting episode.

By positioning itself carefully between the imperatives of retaliatory justice and their fearful consequences, the movie is ultimately less a political thriller than a mesmerizing study of psychological breakdown.

Desplechin, like no other, startles with his enigmatic perceptions on the gender divide.

Nino offers a glimpse into an ordinary, possibly unfulfilled life and the psyche of a contemporary man trying to reconfigure things in the wake of a challenge.

The real challenge is to keep up with the pace as well as the information overload.

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.

Quantum of Solace is lacking the unique 007 vibe.

Director Damien Odoul successfully blends a mixture of naturalistic and unobtrusive camerawork with occasional bursts of surreal imagery.

The war was monumental in its emotional and physical destruction. The film succeeds on many levels, most of all with the heart and mind of the boy witness.

The Singer is a healthy reminder of the unequivocal natural force that Depardieu can summon when he's in focus and on target.

The training sessions begin to pall - for the audience as much for the participants - but once the action moves to Norway, the pace and the scenery pick up considerably.

Seigner is wonderfully playful and her bold risk taking shows how much she trusts Polanski.