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Vendredi Soir (2002) Certificate 15

Vendredi Soir

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Rated 2.5 stars
Average rating
(50%)
 
Starring: Valerie Lemercier | Vincent Lindon
Director: Claire Denis
Studio: PALISADES TARTAN
Run time: 88 mins
Genres: Drama | World Cinema
Languages: French
Subtitles: English
Released: February 23, 2004

Claire Denis' FRIDAY NIGHT, a fantasy that follows a woman into a one-night stand, is an adaptation of the popular novel by Emmanuelle Bernheim who also cowrote the story with Denis. Dreamy and confused, the film begins as Laure (Valerie Lemercier) is packing up her Paris apartment and preparing to move. The chaos of this situation leads directly into the next, as Laure gets in her car and begins to drive across town to a dinner party, only to become stuck in a massive traffic jam. As radio reports continue to stress the drastic and unbreakable gridlock that has Paris literally locked in the streets, a rainstorm blurs Laure's vision. Suddenly, a stranger (Vincent Lindon) approaches on foot, and she offers him a ride. But they're not going anywhere, just smoking, and sitting idle. Eventually Laure calls her friends and cancels on the dinner party, leaving her Friday night wide open to follow whatever path it may take.
A master at building tension and suspense, Denis creates so much chemistry between Laure and her fantasy man that viewers may await a turn to violence or something shockingly unexpected. However, that nervous and mysterious feeling just builds as the ambiguous story of FRIDAY NIGHT continues and a seemingly banal situation--a traffic jam on a rainy Friday--becomes a magical adventure.

Rating of 4 stars out of 5
Radio Times

Both an unconventional love story and a piercing study of urban dislocation, this chance encounter on a chilly Parisian night manages to say a good deal about modern society with the minimum of dialogue. Whether in the snarled traffic that compounds Valérie Lemercier's doubts about committing to her partner or the spartan hotel room where her tentative relationship with hitcher Vincent Lindon develops into liberating passion, director Claire Denis and cinematographer Agnès Godard capture character and emotion with the utmost discretion. But it's the impressionistic use of hazy lights and jumbled sounds to re-create the trappings and pitfalls of city life that most impresses.

Highest rated reviews

8 out of 9 people found the following review helpful:

Rated 1.0 stars
A well-intentioned misfire

Kino from Hants, 17th May, 2004

This certainly gets off to a good start. Having packed up her belongings, the female proganist of this largely silent tale heads for her car and starts driving to her boyfriend's house where she is to start a new chapter in her life.

However, the streets of Paris have fallen victim to a public transport strike: the whole city comes to a standstill. Trying to be charitable, our heroine allows a man into her car, just to shelter him from the cold and perhaps, help him get closer to wherever he's trying to get. And one thing leads to another.

Director Denis seems to have tried to tell a story about a woman's attempt to enjoy a last night of freedom recklessness before tying her life with that of her partner and, as an idea, that's perfectly sound. But the execution leaves a great deal to be desired. The almost total lack of verbal communication between the leads makes it difficult to accept that a woman with an apparently happy life would indulge in this odd 'side-track'. It also makes it difficult for us to care about these characters, with the result that the film's final image is more likely to draw a sigh of relief than a sense of liberated exultation.

The cinematography and the music beautifully create a mournful Paris but the overall effect is frothy and more than a little pretentious.

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4 out of 4 people found the following review helpful:

Rated 4.0 stars

DARREN#80 from SHEFFIELD, 21st March, 2004

Starting at the old living quarters of the surrealists,within eye shot of the Eiffel Tower, Denis constructs a cerebral amble through the lost dreams and and fantasy world of the already decaying new France.
Set against the backdrop of a public transport strike, where the city has become gridlocked, Laurie is in the process of leaving her own appartment to move in with her boyfriend. We join her as she boxes up her belongings and makes across the city to have a meal with her married friends. A proposition that makes her reflect on her own future and sense of freedom.
Slow moving and observational and with every image crucial to its structural make-up, this film pays tribute to the surrealists and suggest a more normalized take on the strangeness of the surrealist landscape. As Laurie finds herself trapped in the center of Paris and the prospect of her future life already planned out, much to her dismay, She embarks on a one night stand with one of Paris' fellow drifters. The freedom she finds with her own sexual expression and her faith in the goodness of fellow man sures up the strange optimism that permeates this films narrative.
Although she ends up fulfilling her destiny, the suggestion is that life will never be dominated by blind faith and predestinal blindness again. She has come of age.

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4 out of 5 people found the following review helpful:

Rated 1.0 stars
One to avoid

solandbud from london, 23rd May, 2004

There is some merit in Denis' idea: reality suspended for a moment in a gridlocked Paris and the meeting there of two strangers who would probably never have met in normal circumstances.

But while I tried, really tried, to give this film a chance, I was left frustrated and totally bored.

I am sorry to say that I cannot think of anything positive to say about this film except that when the closing credits arrived, I felt like a great weight had been lifted from me.

One to avoid.

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3 out of 3 people found the following review helpful:

Rated 5.0 stars
Nothing much happens - except amazing electricity!

A Customer from London, 30th June, 2006

I understand the other reviewers who say nothing happens in this film - I'd say woman dumps car in traffic jam, meets man, they eat and have sex, and that's about it - but the sheer sensuality, reality and tenderness in this movie is incredible. If there was ever a Hollywood remake, it would feature two incredibly, plastic-looking perfect stars and there'd be a few side-characters worming their way in. But this is perfect French film-making, with real-looking actors in a perfect scenario, truthful dialogue and the most romantic feeling. A beautiful film.

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Most recent reviews

Rated 1.0 stars
Absurdity of "Modern Life"

Picaro from , 9th October, 2009

Paris is strangled by its car-driving population on a rainy winter evening. A physical encounter between man and woman is inarticulate, based on nothing but animal desire, and a little human kindness. But the shots are colourful, visually challenging, with occasional whimsy. If this is Friday night, what can the rest of the week be like?

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Rated 0.0 stars
Boring

A Customer from LONDON, 13th September, 2008

Love the director - Love the lead actors - I was eagerly awaiting to see this movie.
What a disappointment - I simply got bored senseless...

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Rated 1.0 stars
Que la baise?

Paddy79 from Leeds, England, 9th July, 2007

Everything that's wrong/ridiculed about French cinema dragged out to an hour and a half. I was ready to leave the cinema after 20 minutes but thought i'd give it a chance expecting that something, anything might happen. It didn't. I have never been so happy to watch credits roll. At least they had a purpose. Whoever thought that making a practically dialogue free film set in a traffic jam was a good idea was wrong. Not good.

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Rated 0.0 stars
affreux affreux affreux

A Customer from London, 29th March, 2007

SImply dreadful. Arthouse mannerisms applied to the most vapid romance imaginable, like Michael Hanneke forced at gun point to remake It Happened One Night (though this is very unfair to It Happened One Night). Or the Marge-scripted episode of Itchy and Scratchy. And then there are the cute animation tricks which seem to have strayed from the perky world of Amelie. Someone will say, plausibly, that the constant non-appearance of psychotic violence is subversive of genre expectations. I suppose it is, but not in any interesting way. Beau travail was intriguing, but it's all downhill from there I'm afraid.

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