(aka 'Right Now')
A school girl falls for a charming young man. After news about a botched bank robbery in which a guard is killed, she learns that her boyfriend was one of the robbers. She decides to hide him and his friends and then they all sneak out of the country. After hiding out and spending all the money, tempers rise and the group splits up. This forces the girl to work her own way back home and deal with her actions and her separation from her boyfriend.
Poor, silly Le Besco. First she took up with serial killer Roberto Succo in Cédric Kahn's film, and here she is again, a middle-class girl sufficiently blinkered and in thrall to her desires to take up with Embarek, a hunky bank robber with whom she soon goes on the run to foreign lands, where catastrophe inevitably beckons. One might even suspect typecasting, especially given that her relationship with Jacquot reportedly transcends the purely professional - not that he's drawn much of a performance out of her. Set in the 1970s, the film was inspired by a true story, and with its black and white digital camerawork does have a certain raw integrity.
Theatrical Release: May 14th, 2004 0 Cannes Film Festival
DVD Review: Home Vision - Region 1 - NTSC
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|Distribution||Home Vision - Region 1 - NTSC|
Average Bitrate: 6.26 mb/s
NTSC 720x480 29.97 f/s
NOTE: The Vertical axis represents the bits transferred per second. The Horizontal is the time in minutes.
|Audio||French (Dolby Digital 2.0), French (Dolby Digital 5.0), French (Dolby Digital DTS)|
Stated as a 'Home Vision' release - this is released by the company that was bought out last year by Image Entertainment. Hence, this DVD transfer has more of Image's lapse standards rather than Home Vision more stringent detail. Dual layered (barely) at 5.1 Gig, the image is interlaced, but at a very fine level that should not be overly noticeable. Detail is acceptable and contrast on par with a hint of aliasing. Something about the image tends to look odd, but I suspect it was Jacquot's choice of style.... which I found effective.
Optional yellow subtitles and 4 extended scenes round out the package. I enjoyed the film seeing a bit of Bertrand Tavernier L'Appât in it and some of Cedric Khan's work as well with the plight of a confused modern gal hanging in the balance. Luckily Isild Le Besco, like Marie Gillain, has this amazing relationship with the camera that becomes essential to the film's expression. That side gets full marks, but the premise we have seen often enough.