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The Closet (2001)
Tomatometer
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Reviews Counted:78
Fresh:67
Rotten:11
Average Rating:7/10
Consensus: A pleasant comedy with a great cast.
Runtime: 85 mins
Genre: Foreign Films
Synopsis:
It's all about perception…
Francois Pignon (Daniel Auteuil, The Widow of Saint-Pierre) leads an uncomplicated, complacent and quiet existence. Due to his severe case of "boring," his wife...
It's all about perception…
Francois Pignon (Daniel Auteuil, The Widow of Saint-Pierre) leads an uncomplicated, complacent and quiet existence. Due to his severe case of "boring," his wife leaves him and his seventeen-year-old son abandons him. Pignon has little left to sustain himself except his accounting job at a condom factory. Until one day he accidentally discovers he is going to be fired, because his employers have grown tired of him as well.
Desperate for a solution, Pignon looks to his neighbor Belone (Michel Aumont), a retired corporate psychologist, for help. Together, they devise an outrageous scheme to solve his problem: Pignon will come out of a closet he never went into, and start a rumor that will have his entire corporation thinking he’s gay.
Due to this "surprising revelation," the new, mysterious Pignon suddenly intrigues his employer. Now he is a straight man pretending to live a gay life, entrenched in a comedy of errors, and finding his new persona is affecting everyone in his world. For the first time in his life, Francois Pignon is coming alive. -- © 2001 Miramax
Starring: Daniel Auteuil, Gérard Depardieu, Thierry Lhermitte, Michele Laroque
Starring: Daniel Auteuil, Gérard Depardieu, Thierry Lhermitte, Michele Laroque, Jean Rochefort, Stanislas Crevillen, Alexandra Vandernoot
Director: Francis Veber
Director: Francis Veber
Screenwriter: Francis Veber
Studio: Miramax Films
Reviews for The Closet
If one didn't know any better, one would think that French farceur Francis Veber's latest comedy as a just-unearthed relic from the '80s, given how it treats homosexuality as some sort of cutesy novelty.
...there are a number of sequences that would clearly benefit from a more broad sensibility (there's a scene that's virtually crying out for a spit take, for example).
all honours finally go to Veber, who has once again single-handedly changed the landscape of gay filmmaking, proving that gay subject matter can be financially successful without being condescending.
Veber has created a film which manages to be both humorous and thought-provoking.
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