Claude Miller's final film stars Audrey Tautou as the titular character who is desperate to escape the confines of a stifling marriage in 1920s France. Society fails to understand Thérèse's anguish at her situation, which has left her with no choice but to take drastic action. The film is anchored by a performance of subtlety and depth by Tautou, who is ably matched by Gilles Lellouche as her husband.
For her third feature and first documentary, the gifted actor-turned-filmmaker Sarah Polley (Away from Her, Take This Waltz) has chosen to focus on her parents: Canadian actor and casting director Diane and British-born actor Michael. Like any married couple, they experienced their fair share of happiness and disappointment. Diane in particular, is seen to have been a very private figure behind her outgoing veneer.
Through interviews with family members and friends, as well as employing archive footage and brilliantly staged Super-8 reconstructions, Polley's riveting investigation into Michael and Diane's life, as individuals and a couple, becomes an exploration of the role of memory, questioning its ownership and also the veracity of recollection. Can we ever uncover every facet of those closest to us and, ultimately, do we want to? Stories We Tell is an intelligent, generous and deeply satisfying experience.
1970s Stockholm lies at the vanguard of liberalism. Yet beneath this veneer lurks a thriving sex industry. Only a short distance from the heart of the government are sex clubs, strip shows and private apartments owned by sex traffickers. Mikael Marcimain's taut thriller details the arrival of Iris to the city, her recruitment as a prostitute and subsequent rise through this world.
Paolo Sorrentino (Il Divo, The Consequences of Love) deliriously entertaining new film plays out like a modern La Dolce Vita. Sorrentino regular Toni Servillo -- whose entrance in the film is worth the price of admission alone -- plays Jep Gambardella, a once-acclaimed novelist-turned-columnist, through whose world-weary eyes we witness the decadence of a bankrupt culture consuming itself. The result is a brilliant, sumptuously shot satire of life in Berlusconi's Italy.
Aidan Gillen plays Gerry who journeys to Singapore following his brother’s sudden death. As he helps his sister-in-law sort out his brother’s business, Gerry ponders on the possibility of re-invention, a chance to start over. Echoing Antonioni’s The Passenger and Lynch’s Lost Highway, Joe Lawlor and Christine Molloy’s enigmatic drama features a stunning location and a riveting performance by Gillen.