Muriel, or The Time of Return

Muriel, or The Time of Return

A chamber drama about a widow and her son who live in an antique shop in Boulogne. The widow invites a man whom she loved twenty-two years earlier to visit. Her son is haunted by Muriel, a young woman whose death he may have caused while serving as a soldier in Algeria. As in Resnais' earlier films, memory is deflected, fragmented, enshrined, and imagined.

In the seacoast town of Boulogne, Hélène sells antique furniture, living with her step-son, Bernard, who's back from military duty in Algiers. An old lover of Hélène's comes to visit - ... . You can read more in Google, Youtube, Wiki


Muriel, or The Time of Return torrent reviews

Kong K (gb) wrote: the extremes in ratings for this movie says so much about the americans' psyche on the wars it has engaged in the past 2 decades. history would prove that these wars will lead to the implosion of this nation called the usa.

Bruce H (au) wrote: Martin Compson, has someone told him he's an actor? Hopeless

Chris L (au) wrote: The subject matter is far more captivating than the technical aspects would lead you to suspect. For me there were no mind-blowing observations or arguments presented, but it kept my attention and does warrant some discussion.

Aephraim S (ru) wrote: A very good film... not up to the level of "After the Wedding," in my opinion, but another good showing for the Danes (whose virulent anti-Swedism as portrayed in this movie was news to me)...

Matthew H (fr) wrote: Huge twist at end can't wait for third

Sara P (mx) wrote: Nothing Thrilling about this movie, ok if your seriously bored but don't attempt watching too late at night after a day at work...

Johan J (us) wrote: A very odd film, a almost depth less description of a small company on a slow march through La France during the first world war. Remainds me of "honour of the knight"Gothenburg filmfestival 2008.

Matt M (au) wrote: A Woman on the beach was the first South Korean film I saw. It was not conventional romance comedy, which to me was a relief. I really like how the story focus around two characters Director Kim Jung-rae (played by Seung-woo Kim) and Kim Mun-suk (played by Hyun-jung Go). Both Seung-woo and Hyun-jung Go were great actors and I believe in their performance. My favourite scene in the film was when Director Kim and Kim Mun-suk judge Choi Sun-hee choice to sleep with foreigners. I found it so funny how the two men reacted, in what could be perceive as racist views. One of my favourite scenes was where Director Kim draws a triangle on a napkin to graphically display the three images of his former wife's affair with a friend of his. During the progress of the film I started to have a grudge against Kim Mun-suk, as I found her to be an irritating and selfish woman. I was so relieve when Director Kim Jung-rae left Kim Mun-suk. Even tho this was a satisfying and not predictable ending, I did find the film to be a bit long and slow and it built up to an anti climax ending. When you follow a small bunch of characters like these two hours is too long, an hour and a half would have been sufficient. There is nothing I can really say negative about the film techniques used in Woman on the beach. In fact I was really impressed by some of the techniques and beautiful cinematography Director Hong Sang-soo used, like the use of two shot; and slow zoom which is not conventional. Some critics would say is an amateur?s technique, in this case it worked beautifully. The editing was simple, which allowed shots flow naturally. Overall excluding the long length of the film, A Woman on the beach is a beautiful film that raises the bar for romantic comedies.

Guy M (jp) wrote: FANTASTIC !!!One of my favorite movies of all time now. Rich in character development, great Cinematics, wonderful story, really kOoL WW I areal action.I wasn't much of a Franco fan until I saw this great movie. This is the best WW I flick since 'All Quiet on The Western Front'.I'm not giving anything away. Must see !!

Garth D (ru) wrote: It's Kurosawa and therefore I need to see it. Plus, it's about a haunted tree or something...

Blake P (kr) wrote: "Strange Days" is the all too rare futuristic sci-fi thriller that seems to be about something. Not that I'm keeping score - it's just that I often find myself in the presence of genre pictures who use a tumultuous setting as basis for neat sequences of action, as a sleek place for sleek characters to do sleek things. More important is the plot, curiosities touched upon but never felt through. So while plot is important in "Strange Days," different is the way the world it's set in is fascinating enough to cause one to thirst for a quasi-documentary covering how things came to be. It takes place in 1999, in an apparent alternate universe that sees Earth on the brink of anarchy. We're transported to inner city Los Angeles, where the streets are everlastingly dangerous and where the police seem to be more compelled to save their own skins than to protect those of others. Such attributes are engrossing provocations to begin with, and pleasing is "Strange Days's" way of never getting too absorbed in its style. It's not trying to create a new world per se; it's more content seeing how the world might look if all of its flaws became too prominent to escape. Some might consider it depressing, especially since the film, even in its most optimistic of moments, has a pertinent atmosphere of misery. But as it's directed by Kathryn Bigelow, a filmmaker whose works frequently jump to the more venturesome side of things ("Point Break," "The Hurt Locker"), and as it's co-written by sci-fi extraordinaire James Cameron (the man behind "The Terminator" and "Avatar"), one can expect that we're not going to be presented with a conventional piece. Instead brought to our screen is an epic of steampunk bedazzlement, as in-your-face and thrilling as it is cerebral. It all seems very plausible, and that's what makes it such a visceral experience. Ralph Fiennes stars as Lenny Nero, a cop turned hustler making a living off dealing America's new favorite drug, SQUID. SQUID, however, isn't typical in that it isn't a powder you snort, a substance you inject. SQUID, in actuality, is short for "Superconducting Quantum Interference Device"; they're illegal electronic gadgets able to bring someone the experience of another. Place one on your head (they take the shape of a futuristic claw), insert a pre-recorded disc in, and you're living a few minutes of someone else's life, feeling everything that they felt in those moments. As it turns out, getting addicted to seeing the world through someone else's eyes is easy and treacherous. Most use SQUIDs to undergo trivial things like imaginary sex, or for more dangerous highs like a robbery. But rising is the number of "blackjack" exploits, which, in addition to giving the wearer the experience they crave, also show the death of the person they're living vicariously through. Lenny only comes across these sinful depictions once in a blue moon, and when he does, he does everything he can to keep himself and his clients far away from their effects. But one SQUID proves to be much more disturbing than what he usually might see in an average blackjack. He, unflinchingly, witnesses the brutal rape and murder of a prostitute he casually knew. We are put in the shoes of the predator with horrifying realism. But the most disconcerting feature of the recording is the added detail that the killer placed his very own SQUID onto the head of his victim, thus letting her see her own death from the eyes of her murderer. The event shakes Lenny up with great force, and after he begins receiving even more anonymous snuff clips, he teams up with old coworker, Mace Mason (a stupendous Angela Bassett), in hopes of tracking down the fiend responsible. This storyline, however, is only a fragment of the triumph of "Strange Days" - being almost two-and-a-half hours in length, its multiple, intertwining plots, along with its intricate character relationships, make it much more credible than the formulaic mainstream thriller. Also pivotal is Lenny's own addiction to SQUID (he uses the device to recount his past relationship with Faith [Juliette Lewis], a trashy would-be punk rocker), and his affiliation with Mace, which is perhaps the only sanguine part of the film. The central plot is exciting enough as is (the murder that kicks off the action is supremely effective and supremely terrifying), so the added fixtures of social commentary is what makes "Strange Days" so spectacular. Cameron and Jay Cocks tap into society's obsessions with pleasure, pushing a need for escapism to bewildering extremes (a characteristic more relevant than ever), and question the strength of governmental power in the face of civil unrest. But the most disquieting thing about the film is how persuasively it portrays a world where most of the law has lost control (most remaining officers have succumbed to extreme corruption), where culture has become so enamored with dopamine release that Earth has become a gigantic survival of the fittest - anarchy is on the verge of becoming a reality. Such a setting is nothing new in the movies, but because Bigelow so sure-handedly transforms us into voyeurs, the film's stimulations hit close to home. I hesitate to call "Strange Days" sci-fi because so much of it doesn't feel so far off. It's a work that gives you whiplash, from its "Ghost in the Shell" meets film noir visual style (most of the film's best scenes occur during the darkest hours of the night) to its abrasive performances - Bassett, emulating a prime Pam Grier, and Lewis, believable as a rock 'n' roll star, are standouts. "Strange Days," simultaneously eerie and searing, is science fiction at its most piquant.

Antonius B (de) wrote: 'Love Me Tonight' is a charming and funny musical, starring Maurice Chevalier as a Parisian tailor who eventually meets and falls in love with a rich Princess played by Jeannette MacDonald. They're both strong and the cast includes the incomparable Myrna Loy in her first 'non-exotic' role, as well as C. Aubrey Smith as the Duke. All of the minor roles are well utilized, including three old ladies who chatter and gossip as they sew and try to cast spells ala the three witches in Macbeth (albeit good spells for the health of the Princess). The musical numbers are entertaining, the best of which is 'Isn't It Romantic?' sung early on by Chevalier, with the tune picked up by one of his customers as he heads out the door, passed along to a taxi driver and his fare, then by a group of soldiers who march, to a gypsy who plays it on a violin, and heard from a balcony by the Princess and sung by MacDonald. It's quite enchanting, and a tune which may stick in your head for awhile afterwards. 'The Son of a Gun Is Nothing But a Tailor' is also nicely performed, and seems years ahead of its time. The movie is chock full of nice touches, from the morning scenes and the 'music of the street' which open the movie, to Chevalier getting on a rambunctious horse for a hunt but then later protecting a deer, to the various witty lines and double entendres which pepper the script. Well done, and a nice (musical) romantic-comedy 1932-style.

Dave J (ca) wrote: Monday, January 27, 2014 (2012) Being Flynn DRAMA This film is better watched at home than it to be watched at the theatre since it consists of people we see everyday all the time which is the disgruntled homeless. Co-written and directed by Paul Weitz from the memoirs of Nick Flynn. It stars Paul Dano playing yet again another writer with the other one called "Ruby Sparks"- in this one he plays Nick Flynn the author the movie is based on. The main theme of this film is really about discovering oneself despite discouraging obstacles in regarding the past. And part of Nick's psychological and successful journey is his eventual reunification with his estranged and eccentric dad by the name of Jonathan Flynn who still lives in the past unafraid to show his irrational behaviour. At the beginning, Jonathan (another difficult role played by Robert DeNiro) continues to maintain that he is one of the greatest writers aligning himself with Hemingway and Fitzgerald, but as viewers see he's just like any other delusional writer who imagines himself to be great rather than accepting for who he really is which is basically a nobody who can't seem to finish anything he started. If you haven't come across people who act like him on street corners somewhere along the downtown area or on college/university campuses than that that would mean that you haven't gone out much because I've come across people who act like this all the time where they rave about themselves very highly while holding a bottle of whisky. For, not all homeless people have been abused during their childhoods or are drug addicts, some are egotistical know-it-all's who take great comfort for what they think they have is great no one else doesn't. That is their only salvation and what keeps them going- it's that and whisky. Anyways, Nick is just an ambitious teenager who's struggling for a purpose in his life. While he want to become a writer, he remembers his mom (Julianne Moore) discouraging him to be one because of his delusional dad who was arrested and put in prison for falsifying bad checks. So while Nick remembers this, he then gets himself employed to work for the homeless, and it is there where he meets his dad which could have bring him down further in a downward spiral. The most interesting aspect about this film, is the fact that this film showcases an realistic practice in regarding taking care of the homeless, and to the rules the homeless have to follow upon being in one of those kind of homes for the movie says that they usually don't get any better but they sometimes get worse. Viewers are not often subjected to this kind of life since we often try to avoid it, and it's comforting to see that not all delusional homeless people are violent but are really misunderstood, that we prefer to see them from a safe distance like from a movie point of view rather than confronting them about their problems ourselves. 3 out of 4 stars

Spencer P (ca) wrote: While it's pleasing to look at and it has good moments, the script and direction are predictable and schmaltzy.

Andrew M (es) wrote: A flawless and beautiful film about the journey of a father and his son.