They loved each other with the ardor of thirteen-year-old boys. Rebellion and curiosity, hopes and doubts, girls and dreams of glory – they shared it all. Paul was rich, Emile poor. They went skinny-dipping, drank absinthe, starved, only to overeat. Sketched models by day, caressed them by night... Now, Paul is a painter and Emile a writer. Glory has passed Paul by. But Emile has it all: fame, money, the perfect wife, whom Paul once loved. They judge each other, admire each other, confront each other. They lose touch, meet up again, like a couple who cannot stop loving each other.
Danièle Thompson
Director
Guillaume Gallienne
Paul Cézanne
Guillaume Canet
Emile Zola
Alice Pol
Alexandrine Zola
Déborah François
Hortense Cézanne
Sabine Azéma
Elisabeth Cézanne
Gérard Meylan
Louis-Auguste Cézanne
Isabelle Candelier
Emilie Zola
Freya Mavor
Jeanne
Laurent Stocker
Ambroise Vollard
Félicien Juttner
Guy de Maupassant
Flore Babled
Angèle Baille
As noted in the headline, I didn’t like this movie. Not to say it’s the worst thing ever, but it’s just…meh. Nothing much to it. Very generic. No surprises. At the very least, the cast is diverse so I’ll give it that.
I hope that more people will see Joyland, understand the situation, and eventually change themselves and society so we can have a more accommodating world where everyday tragedies like the one depicted in the film do not occur.
Its predictability shouldn’t distract from the enjoyment that the pure cinematic imagination behind the camera elicits. It is a movie of crises both moral and mortal, oozing with CGI, and thoroughly enjoyable.
The sequel to the 2021 remake of the same name continues from where we last left off in this spooky adventure.
The horror franchise that had moviegoers watching behind their fingers but on the edge of their seats. The Conjuring quartet released its final installment this year, and it did not disappoint.
The human experience is described through the eyes of a marginalized outsider, neither judgmental nor invested, just an observant donkey.