Séléna is chief of the Marseille police. Respected and feared by his men, his sole enemy seems to be himself, along with his 300 pounds. Strangled by the bursting straight-jacket of his body, tortured by his past, he leads a solitary life in a large isolated house. Séléna is the only person who knows that Elsa was guilty of the murder of her uncle, a wealthy shipowner. Fascinated by the young woman’s beauty, he offers her a strange deal: in exchange for his silence, he demands that she dines with him every night for a year.
Thierry Binisti
Director
Éric Cantona
Le commissaire Séléna
Rachida Brakni
Elsa
Caroline Silhol
Anne Lachaume
Richard Bohringer
Émile Lachaume
Jocelyn Quivrin
Marc Brisset
Jean-Michel Noirey
Benoît Collet
Hubert Saint-Macary
Le juge Salabert
Valérie Messas
Clara Gauthier
Lucien Jean-Baptiste
Le légiste
Richard Guedj
Le médecin de l'hôpital
Eric Averlant
L'homme obèse
This film manages to be simultaneously topical and timeless. Without being preachy, it highlights society’s flawed relationship with tech; insights into the complex ideas of family struggle are expertly dispersed among a perfectly paced and balanced story.
Magnolia focuses on how one’s childhood and trauma relate to their confidence and self.
The film didn’t have to be as long as it is. It just dragged on and on with scenes that had no substance. Every so often we get an action scene, and even those isn’t that fun.
In Spike Lee’s She’s Gotta Have It (1986), we follow the love life of powerful female protagonist Nola Darling (Tracy Camilla Johns) and explore the relationship dynamics she has with her partners. She sees three men simultaneously: Greer Childs, (John Canada Terrell) Mars Blackmon (Spike Lee), and Jamie Overstreet (Tommy Redmond Hicks). Though an 80’s film, She’s Gotta Have It is surprisingly progressive with its themes of female sexuality, although at some points in the film it is handled clumsily. Overall Nola is an incredibly compelling character especially for modern women, as we as a society acknowledge female sensuality more and more without the negative stigma.
A few episodes in, I realized the most prominent theme of In The Long Run wasn't culture, race or even finding independence--but the idea of belonging.
Initially feeling like a passionate group having a bit of harmless fun with filmmaking, it leads to something sinister enough to leave a mark.