Crwthod A lot more amusing than I thought it would be.

Baseshment I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

Fairaher The film makes a home in your brain and the only cure is to see it again.

Kaelan Mccaffrey Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

Rana Saadullah Khan Sure, the film uses wonderful natural imagery of the French Rivera. Yes, the setting is absolutely beautiful and every tiny detail of the historical setting is well accounted for. Definitely, the score adds well into the film's romantically artistic theme. And still there's the fantastic acting and directing to appreciate. Yet there's a but. The film is so boring that the average viewer will never be patient enough to watch the film till the credits roll, the ending is highly unsatisfying and almost abrupt, and the ultimate point of the film is really unclear and clouded over puzzling and not very meaningful phrases that appear to make the film have a message that it failed to deliver. Was the film discrediting ideals of patriotism over art and individualism or not? Was the film ridiculing so-called 'progressive' and 'open-minded' artists or not? And if one knows the true story behind it, this film really has a bleakness attached to it, and you feel a lot of pity for the lead female character.Not one of the greatest Oscar submissions from France, but hey, the setting could make a lot of tourists go southwards from Paris.

gradyharp Writer/director Gilles Bourdos (with assistance from Jacques Renoir, Michel Spinosa, and Jérôme Tonnerre) bring us the incandescent beauty of a transcendent summer in 1915 in the Côte d'Azur when Pierre-Auguste Renoir began the denouement of the Impressionist period of painting. More than a simple story, this film is a recreation of the view of nature and of the human figure as bathed in that special light of the countryside of France. It is as much an artwork as t is a biographical view of one of history's great painters.The Côte d'Azur, 1915. In his twilight years, Pierre-Auguste Renoir (Michel Bouquet) is tormented by the loss of his wife, the pains of rheumatoid arthritis severely limiting his movement, wheelchair-bound, and the agony of hearing that his son Jean (Vincent Rottiers) has been wounded in the action of WW I. His household is tended by maids who have been previous models, and his youngest son Coco (Thomas Doret) who suffers from the lack of attention from his still grieving father. But when a young girl miraculously enters his world, the old painter is filled with a new, wholly unexpected energy. Blazing with life, radiantly beautiful, Andrée Heuschling (Christa Theret) will become his last model, who rejuvenates, enchants, and inspires both father and son. Returning to the family home to convalesce, Jean too falls under the spell of the new, redheaded star in the Renoir firmament. In their Mediterranean Eden - and in the face of his father's fierce opposition - he falls in love with this wild, untamable spirit... and as he does so, within weak-willed, battle-shaken Jean, a filmmaker begins to grow.Bathed in the cinematography glow of Ping Bin Lee and the subtle, sensual musical score by Alexandre Desplat and greatly enhanced by a pitch perfect cast, this film is more of a mood piece than a biopic. At film's end we are informed of the lives of the characters; Jean married Andrée and they made very successful films together until their divorce (Jean Renoir become one of the most highly regarded film directors in history, dying in 1979 – the year that the then destitute Andrée died, Coco (Claude) Renoir gained fame as a ceramic artist, and the eldest on Pierre became an actor whose son became the brilliant film maker Claude Renoir). It is an important moment in the history of art and a quietly pensive study of the mind of artists and their models. Highly recommended. Grady Harp, December 13

zetes Painter Pierre-Auguste Renoir (Michel Bouquet) is an ancient man by 1915. It is WWI, and his two eldest sons, Pierre and Jean (Vincent Rottiers), are at war, while his youngest, Claude (Kid with a Bike star Thomas Doret), just a boy, plays around the estate, claiming to be an orphan (his mother dead and his father an old man). Along comes a beautiful young woman (Christa Theret) who wishes to model for Renoir. Her beauty inspires the old man. Soon, Jean arrives home and begins an affair with the model (whose name is Andrée Heuschling, but who would later change her name to Catherine Hessling and star in many of Renoir's early films). This is, above all, just a very pretty movie. Very fitting, given its subject. Alexandre Desplat also provides a very gorgeous score. The story isn't hefty, but it's good. The acting is good throughout. France submitted this for the Academy Awards this year, bypassing the much more popular (and frankly better) Blue Is the Warmest Color, but Renoir is a worthy film, as well.

Sindre Kaspersen which he co-wrote with French screenwriter Jérôme Tonnerre and French screenwriter and director Michel Spinosa, is inspired by real events in the life of a French painter, a French filmmaker and a French actress. It premiered in the Un Certain Regard section at the 66th Cannes International Film Festival in 2013, was shot on locations in France and is a French production which was produced by producers Olivier Delboch and Marc Missonnier. It tells the story about a renowned painter and widower named Pierre-Auguste Renoir who lives in a house in the French Riviera with his youngest of his three sons named Claude who also paints and their housemaids. Pierre-Auguste doesn't walk anymore, he worries about his son named Jean whom is serving his country in the First World War, his hand which he paints with is not as good as it once was and he is hearing the voice of his former wife in his dreams, but then one day a woman named Andrée Heuschling walks into his house. Distinctly and eloquently directed by French filmmaker Gilles Bourdos, this quietly paced and somewhat fictional tale which is narrated from multiple viewpoints though mostly from the main character's point of view, draws a calmly engaging and refined portrayal of a French artist whose inspiration is revitalized when he acquaints a woman who tells him that she has been sent by his spouse to pose for him. While notable for its distinct, naturalistic and somewhat surreal milieu depictions, reverent and versatile cinematography by Taiwanese cinematographer Mark Ping Bing Lee, production design by French production designer Benoît Barouh, costume design by French costume designer Pascaline Chavanne and use of sound, colors and light, this dialog-driven and narrative-driven story about a son whom after returning home from war with a wounded foot intending to go back when his foot has fully recovered, befriends his fathers' new model who makes an everlasting and life-altering impression on him, depicts three dense studies of character and contains a great and timely score by French composer Alexandre Desplat. This somewhat biographical, modestly humorous and romantic, observational and reflective cinematic artwork which is set during a summer in Côte d'Azur, France in the early 1910s, which has been chosen as France's official submission to the Academy Award for Best Foreign Language Film at the 86th Academy Awards in 2014, which conscientiously reconstructs scenes from the life of three prominent 20th century artists and where a lady of gracious femininity who brings a son closer to his father, instigates the birth of a filmmaker and a soldier is coming to terms with what the experience of love has done to him, is impelled and reinforced by its cogent narrative structure, substantial character development, rhythmic continuity, poignant instrumental tones, incorporation of art in cinema, scenes of Pierre-Auguste Renoir painting Andrée Heuschling and the involving and commendable acting performances by French actors Michel Bouquet, Vincent Rottiers, Thomas Doret and French actress Christa Théret. A masterfully atmospheric and cinematographic homage.