His Brother

This was Chéreau's best since "L'homme blessé", an excellent little film about affection, compassion, brotherly love, death, courage. The proposed situation (an older brother dying from a blood disease seeks the support of his younger brother, somehow evoking the most critical days of the spread of AIDS) is handled with a calm tone, in a rather "Cartesian approach", not lacking bursts of emotion, but avoiding facile sentimentality. Fine script by Chéreau and Anne-Louise Trividic, from a novel by Philippe Besson, with a clever structure intersecting different planes of time, plus good performances all over, especially by Bruno Todeschini and Éric Caravaca, and firm direction by Patrice Chéreau.

The other like part of yourself. Shadows of past and a fragile present. Fear, emotions and long expectation. And the pain like moral mirror.

A meditation-film. Beach, sea and a hospital. Blood-sick and an ambiguous form of love. Questions, illusions, slices of hate and way of survive. A strange passing and subtle exploration of relation between brothers.

Depressing images and circles of freedom. Nooks of gestures and aspects of reality like symbols of fiction. Compasion like only instrument to define the rules of strange and cold universes. And colors of sentiments essence.

The end of film marks the last words of a subtle poem. The shadow of ataraxia after a long trip, taste of peace after a terrible fight, touch of new images and possibilities after a powerful interior tempest.

Director Patrice Chereau, famous for many great films, made this movie. This, of course, let me hope that I would see a good film, at least. But no, this one is not. It is a slow film, and boring.

Two brothers with a problematic relationship in the past, find together again when the elder one gets a dangerous disease and asks his brother to accompany him to several doctors.

So far, so good: This could have been a typical French film about relationships. This could have been a sad tragedy, watching the one brother getting ill. This could have been a good movie, after all, because the acting is really good. But, I can only repeat: This is a boring, slow, far too long picture. The script is poor, and the directing uninspired. Very disappointing.

I saw Son Frere recently in Montreal in the original French (no subtitles). It certainly was a "brooding" dark film that really concentrated on closeups and detail in the European tradition. For me, the changes in time and settings did not take away from the relationship theme of the two brothers and their gradual reconciliation. I thought the detailed hospital scenes were a bit long but very realistic, though sombre. Ironically, I did not find the film depressing as it gave hope that something good comes in times of crisis. I will remember the film more for the two main actors, who I think were very well cast in these roles. It was more like watching a play or "the real thing" with long moments of silence or little spoken to reflect. Not a film that may have "mass appeal" but worthwhile seeing and memorable.

Breaking with the visual pyrotechnics and operatic flourishes he's been associated with in the past, this devestatingly intimate drama solidifies Patrice Chereau's reputation as one of the greatest filmmakers of our time. The simple story (adapted by Chereau and Anne-Louise Trividic from Philippe Besson's novel) deals with two somewhat estranged brothers -- one gay, one straight -- who become reconciled when one of them (the straight one) contracts a rare blood disease and begins the process of dying. As the slightly smug, high-living brother brought low by death Bruno Todeschini is excellent as always. But the revelation is Eric Caravaca as the surviving brother. His fresh, unfussy performance grows in power as the situation goes from bad to worse. Catherine Ferran as the perfectly professional, but utterly unhelpful, doctor in charge is quietly frightening. Chereau regulars Sylvain Jacques and Pascale Greggory drop in for a telling turn or two, and Maurice Garrel (father of filmmaker Philippe Garrel) has a few nice scenes as an old man they meet at their beach house. But over all it's primarily a two-hander of intense intimacy. There's no music until the climax when the voice of Marianne Faithfull let's loose on the soundtrack with a song she co-wrote with Angelo Bandalamenti. And when the end credits finally roll you'll probably find yourself staggering out the door like I did. If you've ever lost someone close to you you'll feel this movie right inside your skin.