In 1943, a sculptor is inspired by a young woman who has escaped from a refugee camp.In 1943, a sculptor is inspired by a young woman who has escaped from a refugee camp.In 1943, a sculptor is inspired by a young woman who has escaped from a refugee camp.
- Awards
- 3 wins & 26 nominations
- Cura
- (as Simon Guilbert)
- Director
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- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaTrueba had had this project in store since 1990. Initally he was to make this film in collaboration with Maximo, his sculptor brother. But his brother died and he gave up the whole thing until 2010.
- GoofsAbout an hour in, as Marc and Emile toast with rosé, Emile takes his cigarette from his mouth twice.
- Quotes
Marc Cros: There are two proofs that God exists. The first and most important is the woman's body. Genesis and all that is malarkey. Can you imagine God creating man? There is no need to make God look like a fool... All this beauty, paradise. And then he thought of creating a being for Himself, a beautiful creature, a perfect one, one to share the world with. A being to keep him company through eternity, unending and probably boring. Someone to embrace in winter and whose skin could be caressed in summer. He created woman and called her Eve.
- ConnectionsSpoofed in Los Goya 27 edición (2013)
This is a movie, a poem, about the existence of beauty and meaning in art, and in the life of an artist. in France during WWIL
This is an impossible subject for any movie—it demands too much be spelled out. The more obtuse, abstract, and indirect it is the better. Luckily that's where this movie tries to go. Where it fails is when it specifies its ideas. It sometimes states its wisdom. There is another better movie somewhere—not yet made—that could touch these ideas and imbue them with fullness without making it concrete. That one is the masterpiece.
In a way the fact I'm talking about this is proof that something happens here. It's a gorgeous, thoughtful movie. The old—very old—sculptor finds a young—very young— model and seems to come to life again. And in his work in these last years he finds something deep and lasting, or seemingly so. The model, in her own naive way, is actually more enriched than he is by all of this, and we see her enlightenment in small ways, even if on some level she doesn't care, not in the way the artist does.
But the artist is the center of things here, in a brilliant performance. His work, what they show of it in the movie (I speak as an artist and art historian), is pathetic and weak, and in a way that's an achilles heel here—-his huge inspiration is just another cemetery sculpture, nothing much after all. Maybe that's the hidden intention, but I don't think so.
The film is a gorgeous, simple black and white widescreen filming that is perfect for the material. The plot is simple—there are just a couple of interesting interruptions to the model and the artist working and growing together. At the end of the day and the end of life for the old man, it all presses on us as we watch—hence the pathos.
One of the stars is the French countryside itself—the olive oil on bread, the light through the trees. In a way it's a poem to a perfect existence, as much as life allows on this small planet.
See this? It really depends. It's a patient movie—requiring patience, as well. But it's beautiful and warm. And the acting is excellent. The torch is passed. The war is ending. Hope has some kind of connection to the profound, and the understanding that life is more than just the day's needs.
- secondtake
- Jan 13, 2015
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Details
Box office
- Gross US & Canada
- $127,958
- Opening weekend US & Canada
- $16,900
- Aug 4, 2013
- Gross worldwide
- $1,492,780
- Runtime1 hour 45 minutes
- Color
- Sound mix
- Aspect ratio
- 2.35 : 1