Camera:
Christophe BeaucarneMuziek:
Olivier BernetActeurs:
Mathieu Amalric, Golshifteh Farahani, Maria de Medeiros, Chiara Mastroianni, Jamel Debbouze, Isabella Rossellini, Edouard Baer, Eric Caravaca (meer)Samenvattingen(1)
Poulet aux prunes speelt zich af in de laatste week uit het leven van Nasser-Ali (Mathieu Amalric). Flashbacks uit zijn eigen geschiedenis, maar ook flash forwards uit de toekomstige levens van zijn kinderen flitsen voorbij. Door de verschillende herinneringen en vooruitblikken wordt duidelijk waarom hij heeft besloten uit het leven te stappen. (Cinéart Nederland)
(meer)Recensie (4)
I have to appreciate the great and original idea. In fact, right from the beginning, the film immediately drew me into its world and told me about its life. This life is sad, but sometimes also happy. Mathieu Amalric has already managed to surprise me several times, but I have a feeling that after watching this film, he made it to my French Hall of Fame. His role was absolutely amazing, fantastic, fun and most importantly... interesting. Just like the whole movie. The ending, on the other hand, showed me life at its worst. It only takes a moment, a few seconds… and your world turns upside down. A beautiful movie, maybe a little bit demanding, but definitely worth remembering thanks to it beautiful and natural storytelling.
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Despite occasional weaknesses in terms of our sympathy for the main character, still the breathtaking directorial ideas, subtle humor, absurd interjections, and a touching ending bring together a film like you've probably never seen before. As a fan of whimsical French stories and magical tales, I eagerly watched this Persian fairy tale, curious about the disappointed Nasser Ali and the troubled Faranguisse, with a blissful feeling of not knowing what the next minute would bring.
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Chapters from Tehran from 1925-1958 chart the ups and downs of a virtuoso's life. The story isn't important, but the love of the film medium, which is mirrored here in the many formal systems, be it the varied animation, the stylization of the feature film, the work with time planes, and not least the cuts to the famous Phantom of the Opera with the divine Lon, provides a sense of dreamlike realism. I'll never get over the one-armed Jamel Debbouze, and Golshifteh Farahani has a dangerously perfect smile. The only flaw is that I believed just about anything about Mathieu Amalric, just not that he is seventeen.
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This story is powerful even in the movie, no doubt about it, but in the comic, it simply resonates better. Here it is more localized to France and it loses some of its magic. But there's nothing to be done about it. Still, I think that the revelation will simply grab your heart. However, I would rather recommend reading the comic.
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