Le Bruit des gens autour (2008) Directed by Diastème
Comedy / Drama / Romance
aka: Sunny Spells
Film Review
Le Bruit des gens autour
starts from a promising premise - the complex lives of the participants
in an arts festival becomes a sideshow that is more interesting than
the main event - but fails in the delivery. The film may have a
talented cast, it may have been co-scripted by Christope Honoré,
a scénariste of some standing, but none of this prevents it from
feeling like reheated and unseasoned leftovers - a compendium of
situations that have been done to death by other filmmakers in recent
years, without any real focus or coherence. There are a few
moments when first-time director Diastème takes us by surprise
and appears to offer something new, but these are fleeting and far
between. Despite one or two standout performances (Todeschini is
excellent, as ever), none of the characters gets much beyond the merely
superficial, and the occasional bouts of over-egged histrionic excess
do little for the film's credibility. Although Diastème
shows some promise in his mise-en-scène, which offers one or two
genuinely inspired touches, the film is let down by a mediocre script
and a general feeling of aimlessness.
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Film Synopsis
The Festival d'Avignon, one of the cultural highlights of the French
calendar, is an appropriate meeting point for artists, romantics and
all manner of emotionally disturbed individuals. Two actors who
have just split up have to play a couple who are hopelessly in
love... A young singer is on the verge of killing
herself... Add to this a depressed author, a tyrannical dancer
and a stroppy technician... It takes all sorts to make a show...
From Jean Renoir to François Truffaut, French cinema has no shortage of truly great filmmakers, each bringing a unique approach to the art of filmmaking.
A wave of fresh talent in the late 1950s, early 1960s brought about a dramatic renaissance in French cinema, placing the auteur at the core of France's 7th art.
In the 1940s, the shadowy, skewed visual style of 1920s German expressionism was taken up by directors of American thrillers and psychological dramas, creating that distinctive film noir look.