Cebalord Very best movie i ever watch

Plustown A lot of perfectly good film show their cards early, establish a unique premise and let the audience explore a topic at a leisurely pace, without much in terms of surprise. this film is not one of those films.

Hayden Kane There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

Fleur Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

jotix100 Louis and Mousse are junkies. At the start of this tale, they are visited by a supplier, who brings them six grams of heroine that proves fatal.The heroin is lethal and Louis overdoses. Mousse, oblivious of his death, is found in bed by his mother, a rich lady who is renting the apartment, not suspecting her son is dead. Mousse is taken to a hospital to be detoxed, and in addition to that problem, it is found she is pregnant.At the funeral, Mousee, who has been released by then, goes back to the house, where her presence is not wanted. Paul, a brother of the dead young man, is the only one that shows any compassion toward Mousse. The mother of Louis has a serious talk with the girl. She confronts her on the pregnancy, something that Mousse assures her it belongs to Louis. The mother feels it is better if she aborts because of the dangers of passing the addiction to the baby, something that Mousse disregards, having a different idea of how to handle her imminent future.Mousse goes into a hideaway in a secluded part near a beach. Paul, on his way to Spain, stops at the house to spend a few days with Mousse. Paul, who is gay, finds a nice young man, Serge, who works in the area. The house where Mousse is staying belongs to a man who was her lover when she was sixteen years old. Now she takes her time to meditate on her future while living with limited funds and dependent on the methadone she must take in order to stay off heroine.Paul sees in Mousse a kindred spirit. He tries to get her to go out, something she has not done, preferring to stay home, away from people. Paul finally convinces her to go to the beach with him. There she is not shy in showing her pregnancy to anyone who looks. Even though Mousse knows what Paul is like, she regards him as an extension of her dead lover. One day, at an outdoor cafe, Mousse meets a man who has an interesting proposal for her. How about letting him take her to his room overlooking the water and make love to her. The incident goes badly when Mousse decides to sit with the man while he caresses her, but no actual intercourse.Like some of his previous films, director Francois Ozon sets most of "Hideway" on a beach. This film is not quite as intense as "Under the Sand", "See the Sea", or even "Swimming Pool", but it has lovely reflective moments in which Mousse must deal with her present reality. Having decided to have the child, she feels that little baby will be part of what she had with Louis, whom she sadly misses. The hideaway of the title refers probably to the reflection Mousse is experiencing, away from her chaotic life with Louis in Paris. The serenity of the location, plus her rapport with Paul, contribute to her mental well being. The only thing that does not ring true is the fact that Mousse is released from the hospital in no time, when in reality she needed to stay if she was to be cured of her drug addiction.Isabelle Carre makes a wonderful Mousse. She was pregnant at the time the film was made. Ms. Carre is the best thing in the film. Louis-Ronan Choisy is quite effective as Paul. The actor was making his film debut in this film and he is also credited with the incidental music heard in the picture. Melville Poupaud is seen briefly as Louis. Marie Riviere shows up briefly.

writers_reign For me there was only one reason to watch this film: Isabelle Carre. The esteem in which Francois Ozon is held has, alas, always been something of a mystery to me and I tend to see his films because he has a penchant for working with luminous actresses such as Valeria Bruni-Tedeschi (5x2, Time To Leave), six of the 8 Women, and now Isabelle Carre. Possibly because of her slight build, porcelain skin, blonde hair, etc Carre is often cast in 'fragile' roles but she did turn 40 last year and IS a bona fide actress so perhaps it is understandable that she wants to extend herself (Anna M, for example) which may explain why she spends the opening reel here as a haggard, wretched, drug abuser. Within weeks - easy to calculate because she learns she is pregnant early on) she is more or less clean and able to look radiant. A fine film but only because of Carre.

film_ophile While I don't agree w/ Chris Knipp's view that this boiled down to a vague glossy ad....I am thankful that he used words like lyrical and elegance , which caused me to see the movie tonight as part of the Boston MFA's annual French Film Festival. I am a big fan of Ozon. I don't know what it is about him, but I feel very simpatico with his sense of humor,and his gazings and subtle observations about humanity. There is this allowance for space in his serious films, space for the characters to feel and grow, and space for the audience to partake in this. I do not find that space flat or boring; rather, it has me fully engaged as a viewer. In this film I was surprised and very taken in by the mesmerizing spiritual nature of Louis-Ronan Choisy . I have not seen him before and he was quite wonderful to watch.He was so perfectly cast for this role. I have been quite taken in by Isabelle Carre before, but I think it was a shame that her character in this film was not able to play to the ethereal and quite 'saintly'persona she has exuded in other roles.I was hoping to get at least a glimpse of the (in-reality) pregnant Carre with that beatific presence that she can emanate.All in all, the relationship between the two of them, and the scene with her being verbally harangued by the guilt ridden woman on the beach, were enough to make me recommend this film. I found it not perfect;too many things unanswered character and plot wise, but still quite lovely, and it left me with a feeling, a mood, that I am still carrying.

Chris Knipp I.V. drug use and pregnancy don't mix, but that is a fact smoothed over in this chic meditation by François Ozon, who enlisted the actually pregnant Isabelle Carré as the lead. In the prologue, the innocent-looking Emile Berling is the dealer who brings a fatal dose that kills off boyfriend Louis (Ozon's Time to Leave star Melvil Poupaud) and lands girlfriend Mousse (Carré) in the hospital. There, awakening from a drug coma, she learns she is pregnant by Louis. A post-funeral interlude with Louis' posh family follows in which we learn he has a handsome gay brother, Paul (Louis-Ronan Choisy). The parents seem to differ sharply on which sibling they'd rather have given up; the father is devastated by Louis' early demise, the mother feels somehow vindicated. Eventually we get a glimpse at why, though in this pretty film, relationships are more talked about than acted out on screen.Mousse moves to a spacious house in the country near the beach lent her by an older former lover, and here she leads a quiet but rather lonely existence, having groceries delivered by a local, Serge (Pierre Louis-Calixte). Along comes Paul on a visit. Uninvited and at first unwelcome, he nonetheless lingers for a while and hugs, talks, and a visit to an ear-splitting disco follow in which the two bond and details of their lives are revealed. Mousse gets an opportunity to process her relationship with Louis and achieve a degree of emotional closure. However, it seems Paul is a more appropriate parent for her child than she is. Even though he gets drunk a lot, spends his time on the beach, and has a fling with Serge, who turns out also to be gay.Once we've gotten past Louis' and Mousse's empty flat and overused veins in the prologue, Le refuge is beautiful to look at, and its melancholy happens in summer sunlight. It's an upscale, French version of a Hollywood movie, but with the punch-line scrupulously removed. It's just an exploration of themes. But what themes? Certainly drug addiction and pregnancy are not subjects treated in any depth. Using an actually pregnant actress and having various people touch or listen to her belly never keep this from being a strangely clueless tour of expectant motherhood. Mousse periodically quaffs vials of Methadone, but the significance of this for a pregnant woman is barely touched on. One wonders whether, were he not as handsome, suave, and sun-kissed, Paul's presence as a family therapist would be as welcome.Ozon isn't flip or stylistically playful as he is in films like Swimming Pool or 8 Women, or (most of all) Water Drops on Burning Rocks; this is more the serious vein of Time to Leave, and has a feeling that's more lyrical and sweet than any of these, perhaps a bit like Under the Sand. But there is a troubling sense of serious matters alluded to, but insufficiently addressed. Despite reference to such heavy stuff as drug addiction, single pregnancy, and loneliness, Le refuge (doesn't the title itself focus on escape?) makes them all seem too easy, assuaged by sun and sea and a handsome, conveniently undemanding gay man. Le refuge winds up being a vague, glossy advertisement for gay parenthood. In his mid-forties now, the prolific Ozon is moving toward more serious subject matter, but seriousness doesn't always mean depth. His moments of boldness may work better when they're a bit more flip and sassy. Le refuge winds up being flat and obvious, despite its elegance.Le refuge was co-scripted by Ozon with Matthieu Hippeau. After going the rounds of some festivals (it won a special prize at San Sebastian), the film opened in Paris January 27, 2010 to generally lukewarm but not unkind reviews. It has gotten good international distribution and will be released in the US by Strand. It was part of the uni-France/Film Society of Lincoln Center series the Rendez-Vous with French Cinema in March 2010 with screenings at the Walter Reade Theater and IFC Center.