Bastards (2013)

Very best movie i ever watch

Great movie! If you want to be entertained and have a few good laughs, see this movie. The music is also very good,

There are better movies of two hours length. I loved the actress'performance.

I really wanted to like this movie. I feel terribly cynical trashing it, and that's why I'm giving it a middling 5. Actually, I'm giving it a 5 because there were some superb performances.

An alienated man returns to Paris in heavy rainfall in an attempt to mend family affairs in the wake of a suicide and substantial monetary damage. He discovers that human hearts, including his own, are not as repairable as he would prefer. Director Claire Denis displays a mastery of imagery, detail, tension and emotion in a dark story that goes back and forth in time and patiently reveals secrets. The introverted characters of her story attempt to react with confidence and courage to the bleak circumstances, malevolent figures, and fears that hem them in, yet their trust and hope hang on a thread. The film is enthralling, dark and brooding.

A man lies dead, a young woman walks the streets at night, dazed and naked. The opening scene of Claire Denis' new film 'Bastards' shows fragments of something terrible thats taken place, but we don't know what. The young womans name is Justine (Lola Créton), her mother Sandra (Julie Bataille) learns of her tragedy and the dead man who is her husband and Justine's father.Sandra seems to have given up hope, or simply doesn't care. Its not until Sandra's brother Marco (Vincent Lindon) is called to return from his job as a captain of a ship, that things start to unravel. Marco seems to be the only one compelled to find out what happened to Justine and her father, who was Marco's best friend. Sandra is of little help, Marco doesn't quite trust her, and maybe never had. She tells him who she thinks is responsible, Marco drops everything to piece back together a disturbing picture of family life.'Bastards' is a moody, slow-burning noir with a surprising series of events that will leave a mark on you. Marco's affair with Raphaelle (Chiara Mastroianni) provides the film with its emotional heart. But everyone is numb and lonely, seemingly unable to express themselves, or simply afraid to. 'Bastards' uses a strange emotional state, darkness pervades in everyone who are all closely shot but you still can't get close to them. Somethings holding them all back, and the protagonists of the crimes do not need to lift a finger.'Bastards' isn't a bleak film, there's still enough tenderness and thoughtfulness in the characters to imbue the film with a humane presence. It still keeps you at a distance, the ending is a shocking conclusion to a fine film, perfectly pivoted by a wonderful song from the Tindersticks. You may not like the ending, but i think this was the point from Denis, in what is her finest film yet.

On the whole Claire Dennis doesn't do accessible, it's far too plebeian and might actually entertain the masses rather than stimulate the academic-pseud axis. So it's a tad ironic that her new release features Vincent Lindon, one of the finest French actors of his generation who is incapable of turning in a bad performance even in a crock of merde like this; the irony is that Lindon also starred in the virtual two-hander Vendredi soir, with Valerie Lemercier, which remains arguably Dennis' most accessible film to date and for all I know she hired Lindon again with the idea of coming full circle. The plot, such as it is, is a succession of improbabilities the first of which took place off screen when Lindon signed over his share of the family shoe manufacturing business to his sister and brother-in-law who promptly ran it into the ground. Having established himself as a master mariner he walks away from THAT career equally impulsively in order to support his sister in the wake of her recent widowhood and a wild child daughter. With no visible means of support he moves into a luxury apartment building where Chiara Mastroianni enjoys a large apartment paid for by her older, sadistic, controlling, millionaire lover who is also - by sheer coincidence you understand - involved in the degradation of Lindon's niece. Naturally she is having sex with Lindon within hours of his moving in. Both Lindon and Mastroianni give excellent performances albeit as meaningless as beautiful fauna flourishing around a cesspool.

French author, screenwriter, film professor and director Claire Denis' twelfth feature film which she co-wrote with French screenwriter Jean-Pol Fargeau, premiered in the Un Certain Regard section at the 66th Cannes International Film Festival in 2013, was screened in the Masters section at the 38th Toronto International Film Festival in 2013, was shot on locations in France and is a France-Germany co-production which was produced by producers Vincent Maraval, Olivier Théry-Lapiney and Laurence Clerc. It tells the story about a former naval officer named Marco Silvestri whom after learning that something has happened to his friend named Jacques, leaves his job to support his sister named Sandra, then learns that her daughter named Justine has been hospitalized and begins studying a woman named Raphäelle who lives with her son named Joseph and her husband named Edouardo. Distinctly and masterfully directed by French filmmaker Claire Denis, this finely paced fictional tale which is narrated from multiple viewpoints, draws a multifaceted portrayal of a French father, brother and captain on a ship whom whilst looking for his niece acquaints a married mother whose main concern in life besides the well-being of her son, is that no one else has a more fulfilling life than hers. While notable for its distinct and atmospheric milieu depictions, reverent and crucial cinematography by cinematographer Agnès Godard, production design by production designer Michel Barthélémy and use of sound, colors and light, this character-driven and narrative-driven story about atrocious and dehumanizing crimes against youths and children which illustrates how positively audacious cinema can be when executed by a filmmaker with an immaculate cinematic language and where a middle-aged man initiates an unscrupulous romance with a stranger whilst a daughter is dancing with death, depicts several dense and mysterious studies of character and contains a great and timely score by English composer Stuart A. Staples.This increasingly dramatic, perspicacious and romantic master-act in audio-visual proficiency which is set in the capital city of France in the 21st century and where a man's hazardous search for a disappeared close relative leads him on an unrighteous path where barbarianism governs, is impelled and reinforced by its densely fragmented narrative structure, subtle character development, rhythmic continuity, efficient film editing, distinct humane undertones and style of filmmaking, eloquent use of music, appropriate title which is a social comment in itself, breath-taking last scene, telling comment by Raphäelle : "What's so great about your life?", the poignant acting performances by French actor Vincent Lindon and French-Italian actress and singer Chiara Mastroianni and the good acting performances by French actress Julie Bataille and French actor Michel Subor. An austerely emphatic, astonishingly envisaged and obscurely atmospheric narrative feature.