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LIFE OF RILEY <\/strong>****<\/strong><\/p>\n Intentionally or not, Alain Resnais\u2019 final film has the dark shadow of death predominantly throughout the narrative. Although this is a dark comedy set in noir territory, the sense of death approaching, the feeling of loss and desperation exhale in the story about human compassion and connections, loyalty and marriage, love and art. The glorious opening scene follows a car going up a road, colored with cheerful sunny lights. The scenario is sarcastically switched into ordinarily painted sets, resembling a play being narrated on a stage. The camera introduces the core of the narrative, witnessing the dialog between a couple: while they have breakfast and get ready for a rehearsal of the play they act on, a strange and unclear phone call, interrupt their argument. We learn, that their friend Riley, who also acts in the play, and whom we\u2019ll never meet on screen, is terminally ill. The devastating news originally meant to be kept secret, spreads around as a rumor, reaching the rest of the clan involved on the play and in their lives: a bourgeois couple and Riley\u2019s ex-wife and her partner. Resnais travels through an entire year, dividing the film accordingly to the four seasons, observing these couples\u2019 attempt to deal with death, how they try to value Riley\u2019s last months, while they gather in preparation for the play. But also, Riley\u2019s situation and the uncertainty take control, bringing them to examine themselves, their marriage, their pleasures and perspectives on the meaning of existing, developing on them the necessity of rescuing all love they left behind, or all love they want to share, while they\u2019re still here. Played charmingly and hilariously by Andr\u00e9 Dussollier, Michel Vuillermoz, Hippolyte Girardot, Sandrine Kiberlain, Caroline Silhol and the irresistible Sabine Az\u00e9ma, proving how to be funny and elegant as a confused gossiper, the comedy is a fantastic, hopeful and optimistic farewell for the French master. Your legacy is highly appreciated.<\/p>\n In a crucial moment, a mother explains to her daughter the reason why she decided going to dangerous places in Africa and photographing their cruel reality. \u201cPeople need to learn what goes on there, while they\u2019re only interested in their own world, or whatever they are going to buy next\u201d, she says while looking at horrifying pictures of political and religious conflicts. The scene feels like an accurate knockout, especially with the fears of Ebola currently upsetting the world. Juliette Binoche gives another fascinating performance, as the prestigious photographer, who after almost losing her life while documenting the horrors of Africa, attempting to awake the world, decides quitting and reconnecting with her family. The task won\u2019t be easy on her, and the film is centered on her emotions, her doubts and responsibilities, as a humanitarian activist and a mother, making it a compelling and alarming look at human virtues. Brilliant!<\/p>\n","protected":false},"excerpt":{"rendered":" LIFE OF RILEY **** Intentionally or not, Alain Resnais\u2019 final film has the dark shadow of death predominantly throughout the narrative. Although this is a dark comedy set in noir territory, the sense of death approaching, the feeling of loss and desperation exhale in the story about human compassion and connections, loyalty and marriage, love and art. The glorious opening scene follows a car going up a road, colored with cheerful sunny lights.<\/p>\n","protected":false},"author":1,"featured_media":10214,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_links_to":"","_links_to_target":""},"categories":[1,16],"tags":[],"views":3239,"_links":{"self":[{"href":"https:\/\/www.brazilianpress.com\/v1\/wp-json\/wp\/v2\/posts\/10213"}],"collection":[{"href":"https:\/\/www.brazilianpress.com\/v1\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.brazilianpress.com\/v1\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.brazilianpress.com\/v1\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.brazilianpress.com\/v1\/wp-json\/wp\/v2\/comments?post=10213"}],"version-history":[{"count":1,"href":"https:\/\/www.brazilianpress.com\/v1\/wp-json\/wp\/v2\/posts\/10213\/revisions"}],"predecessor-version":[{"id":10216,"href":"https:\/\/www.brazilianpress.com\/v1\/wp-json\/wp\/v2\/posts\/10213\/revisions\/10216"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.brazilianpress.com\/v1\/wp-json\/wp\/v2\/media\/10214"}],"wp:attachment":[{"href":"https:\/\/www.brazilianpress.com\/v1\/wp-json\/wp\/v2\/media?parent=10213"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.brazilianpress.com\/v1\/wp-json\/wp\/v2\/categories?post=10213"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.brazilianpress.com\/v1\/wp-json\/wp\/v2\/tags?post=10213"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"mundo](\"http:\/\/www.brazilianpress.com\/v1\/wp-content\/uploads\/2014\/10\/mundo-cinema-ed1702-20141023-2.jpg\")
1.000 TIMES GOODNIGHT <\/strong>****<\/strong><\/p>\n