The first thing to take note in Red Lights is that the story is not rushed: Antoine (Jean-Pierre Darrousin) is perhaps a passive-aggressive, or maybe just having a mid-life crisis. He and his wife Helene are planning for a trip to pick up the kids from summer camp. But the drive hits some things in the way- he has a beer and a whiskey before leaving; a traffic jam gets to Antoine; he drinks again at a roadside; he and his wife bicker; he drinks again; she leaves, and once he realizes he can't catch up with her, he decides to have a night with a little more drinking ahead. While he says he doesn't drink too often ("two, three times a year", he says), this night is different. Especially with a fugitive somewhere out on the loose, as the radio says.
Cedric Kahn is a skilled and trust-worthy director (via France) for a few reasons in dealing with his latest film Red Lights. He doesn't make the pace in the tenser scenes (with a couple of juicy exceptions) really quick cut like in a choppy Hollywood piece. He brings an interesting blend of visuals with the city and the roads, the cars, then as it grows darker outside, the lights outside become key. When Antoine awakes the next morning on the roadside, he's out in the country. As well, he has a great blend of music from Debusy, whom I may have heard before this film but never recognized. It's a fascinating element to add with the impending doom of the film's story. But the key thing that the director can do for a film is the right casting, and here's it's impeccable in dealing with the three leads. Jean-Pierre Darrousin is terrific at conveying the mind-set of this husband in a rocky relationship. Then in the second and third acts, despite what he's doing on the road, he keeps consistent in keeping as the film's reluctant hero. Credit should also be given to first-time actor Vincent Deniard, who is perfect at being the "quiet one you got to watch". And Carole Bouquet is a fair counterpart to a Darrosin.
Although the denouement starts to drag, for my money the film's main chunk doesn't. It would be one thing if Antoine just got drunk. But there's also a good interest in the talking points with the character, as he decides to blow his mind in the process. Red Lights is definitely an art-house film that won't please everyone (the film ends rather realistically, without the kind of extra bit American audiences might want that's more intimate here), but it's still very compelling.
Cedric Kahn is a skilled and trust-worthy director (via France) for a few reasons in dealing with his latest film Red Lights. He doesn't make the pace in the tenser scenes (with a couple of juicy exceptions) really quick cut like in a choppy Hollywood piece. He brings an interesting blend of visuals with the city and the roads, the cars, then as it grows darker outside, the lights outside become key. When Antoine awakes the next morning on the roadside, he's out in the country. As well, he has a great blend of music from Debusy, whom I may have heard before this film but never recognized. It's a fascinating element to add with the impending doom of the film's story. But the key thing that the director can do for a film is the right casting, and here's it's impeccable in dealing with the three leads. Jean-Pierre Darrousin is terrific at conveying the mind-set of this husband in a rocky relationship. Then in the second and third acts, despite what he's doing on the road, he keeps consistent in keeping as the film's reluctant hero. Credit should also be given to first-time actor Vincent Deniard, who is perfect at being the "quiet one you got to watch". And Carole Bouquet is a fair counterpart to a Darrosin.
Although the denouement starts to drag, for my money the film's main chunk doesn't. It would be one thing if Antoine just got drunk. But there's also a good interest in the talking points with the character, as he decides to blow his mind in the process. Red Lights is definitely an art-house film that won't please everyone (the film ends rather realistically, without the kind of extra bit American audiences might want that's more intimate here), but it's still very compelling.