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Reviews Counted: 62
Fresh: 49
Rotten:13
Average Rating: 7/10
Consensus: The premise isn't anything new, but director Alain Resnais' attention to detail and smooth camerawork gives this movie a delicate edge.
Theatrical Release: Apr 13, 2007 Limited
Synopsis: Nominated for eight César awards in its native France, PRIVATE FEARS IN PUBLIC PLACES is an intelligent, adult look at loneliness in the twenty-first century. Directed by French master Alain Resnais (LAST YEAR AT MARIENBAD, HIROSHIMA,... [More]
Starring: Sabine Azema, Lambert Wilson, André Dussollier, Pierre Arditi
Director: Alain Resnais
What makes Private Fears so extraordinary is not just how it completely upends the expectations that have come to seem inherent in such a structure, but how Resnais constantly pushes the boundaries of his, well, let's call it visual depiction.
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There is a different side to everyone in Alain Resnais' enigmatic film about six strangers whose Parisian lives randomly intersect.
What reaches us, most of all, are the hidden, unmet longings that keep the film's Parisian characters from finding true happiness.
Top Critic A gentle look at the pain of loneliness that almost all of us feel from time to time.
Top Critic While there’s a quirky humour at work, the overall mood is of sadness, eloquently, if repetitively, expressed.
Private Fears is so fluently made that its edginess only gradually becomes evident. It's both funny and sad, without underlining anything, and the playing is as good as you would expect from Resnais's regulars.
Ayckbourn's play might have made frothy fun of this comedie humaine, on screen this feels a poor, airless thing.
This French film based on a play by Scarborough’s finest Sir Alan Ayckbourn is best described as a little bit pedestrian.
Quiet desperation is an emotion you’ll probably feel as you wait for the movie to end.
The theatrical, colour-coded sets, graceful camerawork and scene-bridging snowfall motif create a quasi-fairytale feel. But it’s the beautifully tuned ensemble acting that infuses this funny, sad treat with real humanist heft.
No one would argue that this slight six-hander is one of Resnais's greatest movies, but it's far from an embarrassment, and even its strained comic business is enclosed within a prevailing atmosphere of wistful resignation.
Neither comic, nor tragic, nor tragicomic, the movie manages to be entirely inconsequential, gesturing at emotional truths which it is quite unable to embody.
Although now well into his eighties, Resnais brings an elegance and lightness of touch to this romantic roundelay – it’s not the most profound musing on life and love, but it’s eminently watchable.
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