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Film Description
Intimate drama in which Thomas has not had contact with his brother Luc for several years, due partly to his difficulties in dealing with Luc's homosexuality. But when Thomas is diagnosed with a rare blood disease, one that is difficult to treat and impossible to cure, he decides he wants Luc to be by his side. The brothers soon become inseparable as Thomas struggles against the disease. As the pair become closer, their new relationship begins to alienate others. Intricately made, this is absorbing, grown-up entertainment.
February: Thomas (Bruno Todeschini), a businessman in Paris, is admitted to hospital, complaining of sweating and coughing fits to go alongside his habitual fatigue. B... more >
February: Thomas (Bruno Todeschini), a businessman in Paris, is admitted to hospital, complaining of sweating and coughing fits to go alongside his habitual fatigue. By July, Thomas is holed up with brother Luc (Eric Caravaca) in a rocky holiday resort, waiting to die.
Director Patrice Chereau here follows up his groundbreaking work on the mechanics of the human body in Intimacy with something a little more fleshed out and emotional: a serious and sobering study of what happens when that body goes wrong. So many (mostly American) films offer up the spectacle of impenetrable bodies, illustrious corpses, but Chereau’s leads are nothing but vulnerable; both Todeschini and Caravaca submit themselves to the camera in ways unusual for male-directed actors.
Chereau appears to have been taking notes from two of his female colleagues. The film could be seen as a fraternal rebuke to Catherine Breillat’s A Ma Soeur!, its technique of shooting male flesh perhaps drawn
from Claire Denis’ Beau Travail. Chereau also makes the most of a seemingly unpromising hospital location, with its random encounters between the sick and the dying, its open doors allowing Luc to peer into other wards and witness for himself what we all have to expect or fear.
Absolutely part of the post-Irreversible “cinema de l’escargot” decried by Cahiers du Cinema, in that it very much boils down to a reconciliatory dialogue between two men in a room, but it’s a film both warm and painful, with the ability to cut to the bone and provoke real tears: a lesson in the fragility of the snail shell or, indeed, of the form of any living creature. < less
