The Last Days of Chez Nous

Half the time middle aged people acting like teenagers Not one likeable character

Full of wonderfully acted, beautifully observed moments in the life of an unconventional family, this was called, by one critic, 'an Australian 'Hannah and her Sisters'. And to an extent that's not a bad description.

But this film is messier, less complete in it's vision and less bold in it's style. None-the less it's still entertaining, moving, and very worth seeing.

Bruno Ganz's half French, half German accent is a bit distracting (he's terrific otherwise), and, for me, the ending felt rushed, as if things had to get to a conclusion.

It's a film I'd actually wished had gone on longer, or had been willing to leave things less resolved. Once you start with the messiness of life, you lose something with a last minute switch to the neatness of movies.

This film is a favorite gem. It is Bergman like in its convincing depiction of family relationships and emotions. It's a very round presentation of life - it shows the comedy and pettyness. You really feel the air of grief in the family. The cinematography is crystal clear - as if the family is being studied under glass. It mostly takes place at home but there's a liberating road trip.

If you like character study dramas what this one.

Last Days -- Lisa Harrow and Kerry Fox star in this story of family dynamics in Australia. Vicki returns home to live with Beth, but Beth already has a french speaking man living with her. There's lots of laughter and fun, but there are deeper issues way down deep. Cracks in the seams of Beth and JP's relationship, but before it can be worked out, she goes on a road trip with her dad. but which mice will play while the cat's away ? and can she get along with a grouchy, complaining old man who keeps picking fights? It's an ozzy film, so everyone in here is quite quirky. things get sad and serious when relationships start to break down. some sadness, but it's fun for the most part. showing on netflix. pretty good stuff.

I liked My Brilliant Career back in 1980, but after seeing this effort from the brilliant turned masterful Ms Armstrong I suspect that its traditional feminist message ("I won't give up my dreams for a man") made it more palatable for the times. Chez Nous doesn't let you off the hook so easily. What I found so compelling is its gentle but firm refusal to adopt a condescending attitude towards the characters or the audience. I rented this film with Jane Campion's Sweetie, which I found audaciously weird but riveting, in fact I now own Sweetie. Like Chez Nous, it deals with heroines and their family relationships, particularly involving sisters and to some degree, fathers. Both films are from the same part of the world. I was happy to find a used copy of Sweetie a few months after seeing it, but I watched Chez Nous twice before returning it, and that's the highest recommendation I can give.