This French romantic comedy-drama concerns Claude Langmann, a middle-aged auctioneer, who is in a loving marriage with his second wife of 15 years. Though he is deeply in love with his wife and has remained faithful to her, he finds himself unable to perform in bed. His wife says she is satisfied with Claude's love and tenderness, but he visits a sex specialist anyway. There he learns of Viagra, which is not yet approved in France, though it is available in Switzerland over the counter. Soon Claude is on his way to Geneva, and eager to prove his manhood, tries to bed Agnes, his very attractive and very available assistant. His daughter, who also comes along for the trip, interferes with her own problems.
Claude Berri
Director
Claude Berri
Claude Langmann
Fanny Ardant
Marie Langmann, épouse de Claude
Claude Brasseur
Paul-Édouard
Alain Chabat
Le gynécologue et andologue
Danièle Lebrun
Myriam, ex-femme de Paul-Édouard
Véronique Vella
Julie, entraîneuse
Brigitte Bémol
Agnès
François Berléand
Le docteur Nataf
Olga Grumberg
Nathalie Langmann, fille de Claude
Pierre Semmler
Frédérick, marié et amant de Julie
Myriam Mézières
Une cliente à la vente aux enchères
Despite its aggressiveness, the Beef anthology series is about romantic love in all its forms. The final scene of the first season led us to believe that, despite the conflict, drama, and toxic traits, the main characters would end up together and, most likely, live happily ever after. The whole “beef” plot was the prelude to their love story.
Initially feeling like a passionate group having a bit of harmless fun with filmmaking, it leads to something sinister enough to leave a mark.
Adapted from a 2014 novel by Atticus Lish, Preparation for the Next Life is the feature film debut of documentary filmmaker Bing Liu. With the help of screenwriter Martyna Majok, he paints a realistic and somber portrayal of Aishe, a Uyghur immigrant, as she struggles to make a living while undocumented in the United States.
"WHAT ARE YOU WILLING TO SACRIFICE?!!!!" "EVERYTHING!!!!!" This is but one of a multitude of highly emphatic questions, and subsequent answers, being asked in the newest feature film from one of the current masters of horror, Jordan Peele ("Get Out", "Us" and "Nope"). I must give Peele credit in that he continues to push the boundaries of specific genres and their associated tropes in order to provide what ends up amounting to subtly then jarringly intense, yet still character and story-driven, cinema that speaks more to indie stylings than mainstream.
Acutely funny and always well-intentioned, Last Week Tonight has a lot of heart for a satirical-news program.
The problem isn’t that it’s bad. It's good. But it fails to stand out from a crowd of similar films.