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| It isn't easy being intimate with another. Even in marriage, there are often ways that we hide bits of ourselves from those we are closest to. But it costs us to hide those things. |

Confidences trop intimes(2004)
Film Review by Darrel Manson |
| This page was created on August 15, 2004
This page was last updated on
August 16, 2004
—Review
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| CREDITS |
| Directed by Patrice Leconte
Screenplay by Jérôme Tonnerre
Cast (in credits order)
Sandrine Bonnaire .... Anna
Fabrice Luchini .... William
Michel Duchaussoy .... Dr. Monnier
Anne Brochet .... Jeanne
Gilbert Melki .... Marc
Laurent Gamelon .... Luc
Hélène Surgère .... Mrs. Mulon
Urbain Cancelier .... Chatel
Isabelle Petit-Jacques .... Dr. Monnier's Secretary
Véronique Kapoyan .... Female Guard
Benoît Pétré .... Messenger
Albert Simono .... Mr. Michel (as Alberto Simono)
Claude Derepp .... The Customs Client
Aurore Auteuil .... The Student Nabokov
Ludovic Berthillot .... The Mover
Sabrina Brezzo .... The Dance Assistant
Produced by
Christine Gozlan .... executive producer
Alain Sarde .... producer
Original Music by Pascal Estève
Cinematography by Eduardo Serra
Film Editing by Joëlle Hache
MPAA: Rated R for sexual dialogue.
Runtime: France:104 min / USA:104 min
For rating reasons, go to FILMRATINGS.COM, and MPAA.ORG.
Parents, please refer to PARENTALGUIDE.ORG |
| TRAILERS AND CLIPS |
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2 Clips:
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| SYNOPSIS |
A beautiful Parisian woman opens the wrong door and steps into a dizzying psychological mystery that will forever change two lives in Patrice Leconte's Intimate Strangers (Confidences Trop Intimes). Leconte's 20th feature film - the follow-up
to his acclaimed Man on The Train -- is a provocative love story masked in the guise of a suspense thriller.
It all begins when the troubled Anna (Sandrine Bonnaire) makes a mistake on her way to visit a psychiatrist. Accidentally choosing the wrong office, she is greeted by William Faber (Fabrice Luchini) who, unbeknownst to Anna, is actually a mild-mannered tax accountant. Anna explains that she has arrived in a state of personal emergency, and, before William can protest, begins to expose the most intimate details of her marriage
and sex life. Startled and secretly riveted, William does not have the heart to tell this distraught woman his true identity. Playing along with her misconception, he accepts another appointment as her therapist.
On her second visit, William tries his best to level with Anna, but gets nowhere. Desperate to undo his error, William even attempts to hunt Anna down, asking his neighbor, the psychiatrist she was supposed to see - Dr. Monnier (Michel Duchaussoy) - for her phone number, which only leads to William momentarily becoming a patient of the endlessly philosophical doctor. Disappearing into thin air, Anna becomes William's obsession.
Then comes a third visit in which Anna, aware now of who William is, angrily confronts him with his ruse, accusing him of violating her trust and very being.
And yet . . . she returns again. Soon, Anna and William have resumed their weekly appointments in spite of everything. Neither can resist going forward with this most unusual, and seemingly fated, form of "therapy." William is moved and drawn out of his shell by hearing Anna's strange, juicy marital secrets - feeling he is at last privy to the things men almost never hear. Meanwhile, the more Anna talks, the more
her anxiety begins to lift - as she realizes she has met a man who can listen like no one else she has ever encountered.
Yet when their sessions probe deeper, William becomes suspicious. Who is this woman who speaks of crippling accidents and controlling husbands? Is she in danger? Is she dangerous? Is she lying? William's own motivations are equally suspect. Does he think he can
rescue Anna? Is he simply getting a voyeuristic thrill from her? Or is he on the verge of falling perilously in love?
In a winding game of psychological cat-and-mouse, Anna and William chase each other into places neither one ever expected - and form a bond of trust that will change one another, encounter by encounter, into new people. -- © Paramount Classics
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Review by DARREL MANSON BLOG
Pastor, Artesia Christian Church, Artesia, CA
http://netministries.org/see/churches/ch01198
Darrel has an incredible love and interest in the cinematic arts. His reviews usually include independent and significantly important film. |
One way of thinking of intimacy is the baring of one's self - to be completely open and naked before another. Such intimacy is not easy. It requires a level of trust that the other person will not take advantage of
that which we reveal of ourselves.
In Patrice Laconte’s film, Intimate Strangers, Anne, a young woman with a troubled marriage, makes a wrong turn in the hallway as she goes to her first appointment with a psychiatrist. Instead of the doctor's office, she ends up in a tax advisor's office.
Not knowing her mistake, she proceeds to tell her troubles to William. The stunned William lets her go on with this mistake. Then they set an appointment for the next week. Even after the mistake is made known, she continues to come talk to William rather than the doctor down the hall.
William is a lonely man who lives and works in the same apartment he was born in. His nights consist of a TV dinner alone. His tie is always perfectly tied. His desk is always neat. He has compartmentalized his life. It's comfortable, but unfulfilling. When Anne
shows up, his world begins to open up.
This kind of mistaken identity is rife for comedy, and at times that is where the film goes. But intimacy is serious business, and as the story progresses, the comedy begins to fall into the background. Week by week Anne opens up a little bit more. We begin to
hear very uncomfortable things about her marriage and her life. More, we begin to wonder if her story is even true. Is she really married? Was there a mistake that first visit, or was it planned? We start seeing ways that Anne manipulates William.
The tension begins to mount in an almost Hitchcockian manner as the story goes on. (This tension is helped along by a superb score by Pascal Estéve.) We really aren't sure whom we should fear or fear for. Who is a victim in all this? Anne? Anne's husband? William? We begin to sense that something dangerous is taking place.
The real danger is the intimacy. William and Anne begin to know each other as people rarely get to know one another. Anne and William become entwined in this ongoing intimacy. Each needs to be set free in some way, but to find their freedom, they must bare their
souls to themselves and one another. Such baring of souls leaves one totally vulnerable. In that vulnerability, they are able to find their freedom.
It isn't easy being intimate with another. Even in marriage, there are often ways that we hide bits of ourselves from those we are closest to. But it costs us to hide those things.
Intimacy with God is also difficult. Even if we are already fully known by God, we still seek to hide our deepest selves. But it is only by opening ourselves and being ready to stand naked before God that we will finally find the freedom and peace of God.
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