Coeurs (2006)

Director:

Alain Resnais

Writers:

Alan Ayckbourn (play)
Jean-Michel Ribes (writer)

Release Date:

22 November 2006 (France)

Genre:

Drama | Romance

Tagline:

For six strangers in search of love, the City of Lights can be a very lonely place.

Plot:

In Paris, six people all look for love, despite typically having their romantic aspirations dashed at every turn.

Plot Keywords:

Crying | Forgiveness | Paris France | Falling | Video Tape

Awards:

5 wins & 9 nominations

Cast

Sabine Azéma	...	Charlotte
Isabelle Carré	...	Gaëlle
Laura Morante	...	Nicole
Pierre Arditi	...	Lionel
André Dussollier	...	Thierry
Lambert Wilson	...	Dan
Claude Rich	...	Arthur (voice)
Françoise Gillard	...	Speakerine TV
Anne Kessler	...	Présentatrice émission TV
Roger Mollien	...	Soldat poète émission TV
Florence Muller	...	Critique d'art émission TV
Michel Vuillermoz	...	Architecte émission TV

Also Known As:

Private Fears in Public Places (International: English title) (USA) (festival title)
Cuori (Italy)
Petites peurs partagées (France) (working title)

Runtime:

120 min

Country:

France | Italy

Language:

French | English

Color:

Color

Aspect Ratio:

2.35 : 1

Sound Mix:

Dolby Digital

Certification:

Brazil:14 | Australia:M | France:U | Italy:T | Germany:12 | Switzerland:12 (canton of Geneva) | Switzerland:12 (canton of Vaud) | South Korea:15

Company:

Soudaine Compagnie

Trivia:

There is a Scarborough poster in Thierry's home. The English seaside resort of Scarborough is the home of the play's author, Sir Alan Ayckbourn.

Stylish soap

What's good about this film are the Resnais trademarks - the beautiful apartments, the interesting details of decor and props, the great camera-work, the excellent acting from an attractive cast, the acute observation of people's behaviour, motivations and relationships. So, why the moderate score? All this attention on surface appearances results in a certain superficiality. Several unconnected stories, while not an unknown approach, create a certain distance from the characters. Influential relationships, for example father-son, are not shown on screen. And as in many French films, no-one seems to work much or has to deal with real world problems outside of relationships. There's little real logic in story lines or outcomes. There's also a certain clumsy dependence on overt clichés: video porn is compelling for men but denounced by women, men need space and women need children, there are difficult old men and naive young women, misunderstandings abound. Like candy floss or indeed video porn, enjoyable at the time, but it doesn't leave lasting memories.