Un couple épatant (2002)

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Titolo originale: Un couple épatant–>
Genere: Commedia, Romantico–>
Durata: 97–>
Nazione: France, Belgium–>

  • Lucas Belvaux

Scritto da:

  • Lucas Belvaux


  • Diana Elbaum (co-produttore)
  • Patrick Sobelman (regista)
  • Arlette Zylberberg (produttore associato)


  • Riccardo Del Fra

Trama del film:

The first installment of the trilogy focuses on Cecile. She is a teacher who is still madly in love with her husband Alain, a hypochondriac who is convinced that a routine operation will take his life. He doesn't want to alarm his wife, and she mistakes his secrecy for an affair. Enter Pascal, who is hired by Cecile to track Alain, but who falls in love with Cecile instead. Written by Sujit R. Varma



1 Comment


    noralee said

    February 27 2012 @ 19:28

    "On the Run (Cavale)" is the first third of an engrossing experiment in
    story telling that crosses "Rashomon" with a television miniseries to show
    us an ensemble of intersecting characters over a couple of days to gradually
    reveal the complicated truth about each.

    Writer/director Lucas Belvaux uses a clever technique to communicate just
    how differently the characters perceive the same situations– they are
    literally in different movies and, a la "Rules of the Game," everyone has
    their reasons.

    "On the Run"is a tense, fast-paced escaped con on-the-run Raoul
    Walsh-feeling film, with the auteur himself playing a Humphrey Bogart-type
    who can be cruel or kind; "An Amazing Couple (Un couple épatant)" is an
    Ernest Lubitch-inspired laugh-out-loud comedy of mistaken communication; and
    "After the Life (Après la vie)" is a Sidney Lumet-feeling gritty, conflicted
    cop melodrama with seamy and tender moments.

    "Time Code" experimented turning the two-dimensions of film into three with
    multiple digital video screens. This trilogy is more effective in showing
    us what happens as characters leave the frame. Belvaux goes beyond the
    techniques used in the cancelled TV series "Boomtown" or the films of
    Alejandro González Iñárritu in "Amores Perros" and "21 Grams" with their
    stream-of-consciousness flashbacks character by character.

    I don’t see how I can deal with each film separately. Theoretically, one
    can see the three movies alone or independently out of order, but that would
    be like watching one episode of a series like "The Wire" or "The Sopranos"
    and wondering what the big deal is. Only a handful of patrons in my theater
    joined me in a one-day triple-feature; I guess the others have a better
    memory than I do that they could see each film on separate days, though a
    marathon does inevitably lead to some mind-wandering that could miss
    important clues and revelations so this is ideal for a triple-packed DVD.

    On DVD we’ll be able to replay the excellent acting to see if in fact the
    actors do shade their performances differently when particular scenes are
    enacted from different characters’ viewpoints — are these takes from the
    same staging or not? How is each subtly different that we get a different
    impression each time? Or are we bringing our increasing knowledge (and
    constantly changing sympathies) about each character to our impressions of
    the repeating scenes?

    One reason this conceit works is because of the unifying theme of obsession
    – each character is so completely single-minded in their focus on one issue
    that they are blind to what else is happening even as they evolve to find
    catharsis. One is literally a heroin addict, but each has their
    psychological addiction (revenge, co-dependence, hypochondria, jealousy).

    The slow revelation technique also works because of the parallel theme of
    aging and acceptance of the consequences of their actions, as some can face
    how they have changed and some can’t change. You need to see all three films
    to learn about each character’s past and conclusion, as secondary characters
    in one film are thrust to the fore in another in explaining a key piece of

    The only place they really interchange is in an ironically, meaningless
    political debate at the public high school they each have some tie to.

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