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In the early 1900s, a former clergyman divorces his wife, marries another woman and settles in Switzerland. When he must return to France to take over the family porcelain business, the move affects his second marriage.
The long, epic Les Destinees is too slow and tedious to justify its running time.
A massive undertaking and an accomplished piece of filmmaking in a solid tradition of intelligent, meticulous literary adaptations.
More than a few of us would show up for the chance to see and hear Huppert and Beart read from the Limoges telephone directory. Assayas can count himself lucky for that.
Despite an off-putting premise, this is a sumptuous drama boasting substance as well as spectacle.
Assayas is masterful in using offscreen sounds to conjure up a novelistic sense of milieu and in handling various ceremonies, and the film's lush texture explains why he called it his anti-Dogma film.
Opens at a funeral, ends on the protagonist's death bed and doesn't get much livelier in the three hours in between.
We're kept intrigued by the characters and where they're heading, and the gorgeous cinematography and production design help us submerge ourselves in their world.
Ambitious, efficient, sensitive, but a little disappointing.
The movie is relentlessly gorgeous, and brims over with color, light and movement like a room-filling Monet canvas.
Enduring love but exhausting cinema.
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