Whilst avoiding many of the sentimental clichés that bedevil terminal illness movies, the briskly edited Time To Leave nevertheless lacks the emotional impact of Ozon's most memorable films.
Time to Leave (2006)
Tomatometer
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Reviews Counted:50
Fresh:38
Rotten:12
Average Rating:6.6/10
Consensus: A reflective look at our own mortality through the experience of a middle-aged French man, Time To Leave manages to pull at our heart strings without resorting to cliches, and leaves a lasting impression.
Theatrical Release:12-05-2006
Synopsis: Melvil Poupaud gives an extraordinary, complex performance in TIME TO LEAVE (LE TEMPS QUI RESTE), written and directed by iconoclastic French auteur François Ozon (8 WOMEN, SWIMMING POOL). Poupaud... Melvil Poupaud gives an extraordinary, complex performance in TIME TO LEAVE (LE TEMPS QUI RESTE), written and directed by iconoclastic French auteur François Ozon (8 WOMEN, SWIMMING POOL). Poupaud stars as Romain, a selfish, self-absorbed fashion photographer who is suddenly diagnosed with terminal cancer. Not wanting anyone to know about his illness, he brutally breaks up with his boyfriend, Sasha (Christian Sengewald), belittles his sister, Sophie (Louise-Anne Hippeau), and goes against his doctor's (Henri de Lorme) suggestion to give chemotherapy a chance. The only person he chooses to confide in is his grandmother, Laura (the legendary Jeanne Moreau), who has been estranged from the family for many years for what they considered inappropriate behavior after the loss of her husband. Knowing his time is running out, Romain travels around with a small digital camera, capturing tender moments that are very different from the high-profile fashion shoots he is used to. He finds solace with his beloved grandmother, but to everyone else he is cold and distant, seemingly going out of his way to not take the easy way out by rediscovering life and love in his final days. All the while, nearly everywhere he goes, Romain sees himself as a child (Ugo Soussan Trabelsi), as the past invades his temporary present. Beautifully acted and intelligently written, TIME TO LEAVE, the second in a proposed trilogy about life and death by Ozon (following UNDER THE SAND), is a challenging, compelling work with a simply magnificent ending. [More]
Starring: Melvil Poupaud, Jeanne Moreau, Valeria Bruni-Tedeschi, Daniel Duval
Starring: Melvil Poupaud, Jeanne Moreau, Valeria Bruni-Tedeschi, Daniel Duval, Marie Rivière
Director: Francois Ozon
Director: Francois Ozon
Producer: Olivier Delbosc, Marc Missonnier
Studio: Strand Releasing
Reviews for Time to Leave
An emotionally moving story, which somehow never dips into cliched sentimentality.
The entire film is a balancing trick, with scenes of potential banality redeemed at the last by a subtle twist or subversion. In their conflicted expressions, the performers prove themselves experts at their own high-wire acts.
Those looking for the traditional Hollywood sweetness or payoffs will walk away disappointed, but the rough-hewn film offers riches to those willing to endure its downbeat tale of detachment.
We watch Romain change as he struggles with his mortality and, as he does, we come to care about him.
Modern audiences are more likely to find the character's behavior to be extremely frustrating, undercutting any sympathetic response one might have for his situation.
But this may be the first time that Ozon has played it too safe, leaving little to separate his film from the countless other portraits of dying scoundrels redeemed.
It does absolutely nothing that previous movies dealing with this subject haven't done.
Has its effective moments of restrained intimacy but lacks the depth to give the slow-going narrative much impact.
Pointless, crushingly dull "disease of the week" film [about] a shallow, selfish, gay fashion photographer.
Yet another discourse, a creative one, about what people do when they are diagnosed with a terminal disease.
Ozon's drama offers no rousing speeches about living to the fullest, or heartfelt soliloquies on the nature of existence, only a bitterly honest admission that death happens to everyone and there is no use trying to stop it.
Moreau's few ripe scenes are choice, and she spices up the joint with her gravelly voice of je ne regrette rien.
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