Exploring the different facets of an extended family's inheritance, Olivier Assayas' film is beautifully observed and finely nuanced - but its relative slightness suggests that less need not always end up being more.
Summer Hours (2009)
Tomatometer
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Reviews Counted:77
Fresh:72
Rotten:5
Average Rating:7.7/10
Consensus: Olivier Assayas' contemplative family drama handles lofty ideas about art and culture with elegance and lightness.
Theatrical Release:18-07-2008
Synopsis: French director Olivier Assayas (BOARDING GATE, IRMA VEP) subverts expectations with this empathetic drama about the fading relevance of objects as generations pass from one to the next. Helene... French director Olivier Assayas (BOARDING GATE, IRMA VEP) subverts expectations with this empathetic drama about the fading relevance of objects as generations pass from one to the next. Helene (Edith Scob) has just turned 75 and is increasingly concerned about the particulars of leaving her estate behind when she dies. Unfortunately, the time comes when Adrienne (Juliette Binoche), Jeremie (Jeremie Renier), and Frederic (Charles Berling) must decide what to do with Helene's house and the artwork left behind by her famous uncle. Adrienne, who is living in New York City, and Jeremie, who is working in Asia, both understand that their future no longer resides in France, leaving the burden to Frederic. However, even when the siblings are at odds, they don't succumb to fighting. They seem to understand and accept that this is an unfortunate, muddled situation, and as much as they'd love to hold on to the house, it appears that their current situations carry more of an influence than the lives of their nostalgic past. With SUMMER HOURS, Assayas has delivered an understated motion picture about the importance of objects as historical artifacts and family heirlooms, and how time renders these objects obsolete. Contrary to the dysfunctional family dramas of fellow countryman Arnaud Desplechin (A CHRISTMAS TALE, KINGS AND QUEEN), Assayas keeps his characters calm and stable throughout. He isn't condemning these individuals for turning their backs on the past, and he certainly isn't out to belittle the importance of these objects' places in history. Shot by the acclaimed Eric Gautier and flawlessly acted by its principal cast, SUMMER HOURS is a touching, thoughtful drama. [More]
Starring: Juliette Binoche, Charles Berling, Jérémie Rénier, Edith Scob
Starring: Juliette Binoche, Charles Berling, Jérémie Rénier, Edith Scob, Dominique Reymond, Valérie Bonneton, Isabelle Sadoyan, Kyle Eastwood
Director: Olivier Assayas
Director: Olivier Assayas
Screenwriter: Olivier Assayas
Producer: Marin Karmitz, Nathanael Karmitz, Charles Gillibert
Studio: `
Reviews for Summer Hours
n Summer Hours, Olivier Assayas's gently provocative rumination on family and possessions, a trio of siblings wrestles with the problem of what to do with the old homestead once Mother is gone.
Offers the sense that what is now being dismantled was itself the result of people who in their own way had rejected an earlier past.
A keenly observed, typically high-quality family drama of the sort only the French seem capable of making anymore.
The acting is superb and the cinematography is top drawer. French films are not shy about tackling real-life issues in a meaningful way
Parts of Summer Hours feel very much like real life, which is both the film's strength and its ultimate weakness.
Summer Hours is undeniably in touch with the way we live, eminently respectable, and a tad forced.
Echoes of so many other great Binoche movies: The haunted quality of Blue, the meditative tone of Flight of the Red Balloon, even the celebratory mood of Dan in Real Life.
Summer Hours is a slow, beautifully photographed film about what we value -- in the emotional and material realms.
Evocative look at a family trying to decide what to do with its treasures.
Where a Hollywood film of a family feuding over a fabulous estate would surely end with a slapped face and an infantry charge of lawyers, Assayas's work concludes with a smile and a shrug. Life goes on. What else can it do?
Performances in this small and profoundly eloquent film are superb, yet none redirects attention from Assayas's earnest meditation on the ravaging effects of a shrinking world on family traditions and entrenched personal relationships.
Bound up in this haunting, moving meditation on a family in transition are implicit questions about globalization and the relationship of art, life and culture, the past and the future.
Deeply moving in its subtle journey through regrets, memories, and the profound affection that inanimate objects can inspire in us...
As delicate, even effervescent, as any story about the dissolution of family ties could possibly be.
This is a movie that, for all its once-over-lightliness, stays with one. Given what it's about, and the intelligence of its makers, how could it not?
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