Rendez-Vous

Starring:Lambert Wilson, Juliette Binoche, Wadeck Stanczak, Jean-Louis Trintignant, Dominique Lavanant, Anne Wiazemsky, Jean-Louis Vitrac, Philippe Landoulsi, Olimpia Carlisi, Katsumi Furukata, Caroline Faro, Jacques Nolot, Patrick PÃ©rez, MichÃ¨le Moretti, Joseph Michael Roth, Arlette Gordon, Madeleine Marie, Annie NoÃ«l, Serge Martina
Director: AndrÃ© TÃ©chinÃ©
Studio: Homevision
Product Type: DVD

Amazon.com

Future star Juliette Binoche made a sensational early splash in Andre Techine's 1985 Rendez-voux, one of the director's typically unpredictable projects. Binoche plays a struggling actress whose new Paris apartment brings her into the orbit of the meek realtor (Wadeck Stanczack) who found the place and his aggressively dashing roommate (Lambert Wilson). There's also a grizzled director (the great Jean-Louis Trintignant) looking to cast Romeo and Juliet. Techine wrote this sexually explosive movie with Olivier Assayas (Late August, Early September), which might help explain its fluid, dreamy forward motion; nothing happens according to realistic logic, but it seems to make sense as it hurtles along. The following year Techine made Scene of the Crime, which established him as a major French director. Binoche's live-wire performance is an indication of the risk-taking that was to come, and here she is already one of the most beautiful women in cinema. --Robert Horton

Description

In her first major screen role, Academy Award®-winner Juliette Binoche (The English Patient) gives a raw and electrifying performance as sexual free-spirit Nina, who moves to Paris to become an actress. She has a profound impact on three men. Paulot (Wadeck Stanczak) is a timid real estate clerk infatuated with her. His roommate, Quentin (Lambert Wilson), is an emotionally scarred actor who performs in live sex shows. Scrutzler (screen legend Jean-Louis Trintignant) is a stage director who casts Nina in his production of Romeo and Juliet. Co-written by Olivier Assayas (Irma Vep), Rendez-vous is a mesmerizing study of love, loss, and redemption that earned director Andre Techine (Wild Reeds) Best Director honors at the Cannes Film Festival.

Customer Reviews:

Early André Téchiné, Early Juliette Binoche.......2006-11-03

André Téchiné made this 1985 film RENDEZ-VOUS before his promising career was established, giving us such fine films as My Favorite Season, The Innocents, The Wild Reeds, Beach Café, Alice and Martin, etc. The sensitivity to character development is tightly wound in this work but some of the finesse that followed his later works is missing. In the end we are left wondering a bit about what happened to almost everyone.

Nina (Juliette Binoche in her first film role) has traveled to Paris from her small home in Toulouse to try her hand at acting and to live the wild life that has been unavailable to her in Toulouse. She beds nearly every man she encounters and acts bit parts in small theaters, barely eking out an existence. Tired of one night stands and sharing quarters with others, she sets out to find her own apartment, stopping in to a realtors office where she encounters Paulot (Wadeck Stanczak) who is immediately smitten with her sensual good looks and manner. Having no place to stay Nina agrees to spend a few days with Paulot in a flat shared with the hauntingly strange Quentin (Lambert Wilson). Nina is oddly attracted to Quentin and is somewhat put off by the fact that Quentin is an actor in a sex theater. We discover Quentin narrowly escaped death some time back when the actress playing Juliet to his Romeo was killed. Nina has an approach/avoidance conflict with Quentin, all the while fending off offers by the pathetic Paulot to care for her. Quentin is killed in a car accident, Nina meets the elderly director Scrutzler (Jean-Louis Trintignant in a splendid cameo role) who promises her the role of Juliet in his casting of the Shakespeare drama, and her career as an actress seems to be launched. Full of self doubt and fear stimulated by the ghost-like appearances of the dead Quentin, Nina prepares for the role, copes with Paulot's advances, shares a flat with him, and is finally left in the stage wings with her focus on becoming an actress challenged with her needs for physical and stable love. And we are left there.

Juliette Binoche is very fine in this her 'maiden voyage' and it is a happy finding that she is far more beautiful (as well as a far better actress) in her current more mature state. Lambert Wilson gives a fine performance, finding the line between lurid sexuality and lonely afterlife ghost a position he easily treads. The film definitely has moments but it is only a hint (and a strong one) of just what to expect from the gifted André Téchiné. Not bad for a twenty year old film! Grady Harp, November 06

A Characiture of a Bad French Film.......2006-08-07

I always wince a bit when Americans (and, really, most other nationalities) are all too confident when they poke fun at the French. But sometimes the French play into the hands of such a characiture. If one were in search of evidence that French films are obscure, despairing, and full of gratuitous sex dressed up as high art, Rendez-Vous should be exhibit A. It is almost a parody of a crappy, pretentious, and completely joyless arthouse film.

Having escaped to Paris in order to "live life," Nina does quite the opposite. The dingy depiction of the Paris underscores the impression that the city is more of a meat grinder than a place of discovery or liberation. Early on in the film, we interupt Nina at the theater while as she is about to mount the usher. He proceeds to treat her terribly, he insults her, and a pattern is born. Nina will continue to attract and be drawn to men who abuse her. Yet she is not simply a passive victim in this game. Paulot, who arranged her lodging, seems at first to have the normal attraction to Nina. Surely, this attraction is sexual, but it is not exclusively sexual. We can easily imagine Paulot, if he had never been humiliated by her, desiring a normal relationship. But as Nina later admits to her theater director, she would not sleep with Paulot. He is sweet, and she tells Paulot that she loves him, but that is not enough. She is drawn to something more sinister. Paulot's behavior at the end of the film is disgusting and degrading, but I didn't feel that this was inherent to his character. Nina has left her mark, Paulot becomes what he must be to have her. Nina is not "living life" in Paris, she is emotionally dead, and is making the same of others.

Surrounding her relationships is a storyline concerning a production of Romeo and Juiliet, its director, and a tragedy involving its previous stars. How this pertains to Nina is unclear, but the idea that "the sins (or tragedies rather) of the father will be visited on the son" comes to mind.

This film is not erotic, and Nina is not sexy. We see no evidence of her desires and there is not one loving or tender second in this movie. She runs head long into misery and sometimes can return it in kind. Ulitmately, she is a little girl who is destroyed by Paris. So what does the film want to portray? Utter despair and humiliation? How French!

I gave the movie 2 stars because I wasn't compelled to turn it off. While I didn't like the movie, and won't recommend it, I was still kept reasonably interested, and do like watching Juiliette Binoche. I hung on for some kind of redemtion, but it never came. I guess that would be too sentimental, or bourgeios. It's a shame, because I do like many French movies, and movies that do something unusual.

Shallow, perverse, unconvincing........2005-12-12

Binoche as the sexual adventuress Nina, fresh to Paris from a small town in the provinces, does a terrific job of acting in this film, which is why I gave it three stars. The rest of the cast do their best to make something of this nonsensical film, but without Binoche it would merit only one star.

The plot is a rather unimaginative and shallow love-triangle, or perhaps quadrangle (it's not clear that Scrutzler [Jean-Louis Trintignant] is NOT sexually interested in her), with supernatural and pornographic overtones. Nina is clearly terrified of love, as are the other characters, and uses sex as a drug and as currency. The males Paulot and Quentin are attracted to her like flies to honey, but are frustrated and angered by her capriciousness. Nudity, pseudo-sex, and graphic violence are not exactly gratuitious, but they do not add weight to the plot, merely make the banality more offensive. Techine attempts to bring some intellectual depth to the piece by making Nina an aspiring actress in Scrutzler's new production of "Romeo and Juliet", but only succeeds in seeming pretentious and silly. The movie ends on a note of fashionably bizarre Euro-nihilism: Quentin is dead, but appears to Nina as a ghost; Paulot has requited his love for Nina in a nauseating "love" scene, and is disgusted by her; and Scrutzler disappears into the night just as Nina is set to appear on stage in her first big role as "Juliet". We last see Nina in tears, desperate, at the end of her rope, as her big chance dissolves in front of her eyes.

No wonder it got a prize at Cannes!

Paris is presented to us as deliberately dingy, I suppose in an attempt to be "artistic". The soundtrack is sugary, pretentious, and a little bizarre in the ugly context. The subtitles are intrusive, and not always faithful to the original French. The sex scenes are deliberately degrading and not at all erotic, in spite of Binoche's attractive young body. Brian McFarlane's adulatory "essay" in the accompanying program guide just compounds the offense.

It is often said that the French confuse sex with love. The films of Rohmer, Truffaut, Renoir, and others bely that canard, but Trechine seems intent on proving it. He did a decent job of presenting believable and interesting characters in "Ma Saison Preferee", but he fails miserably in "Rendez-vous". This is an ugly film.

If you like Binoche and are interested in her development as an actress, you may find some value in this film. It is otherwise very missable.

Not very good.......2005-11-14

Juliette Binoche is, as one might expect, excellent. Her character has none of the strength of her later roles in Bleu or Chocolat, but that wasn't her fault - she played the character well.

However, she's the only worthwhile thing in the movie. There are no sympathetic characters (not even Binoche's, really). The random guy who picks up Nina in a bar harasses her less than anyone else in the movie. There's no motivation for much of anything (apart from animal lust on Paulot's part, one supposes). This film certainly isn't extraordinary, and there are none of the ordinary endearing elements in it (realistic drama, romance, character growth, sex scenes that aren't tantamount to rape or involve spitting in someone's face, relationships that make sense, etc.).

The Amazon review claims "it seems to make sense as it hurtles along." No, in fact it doesn't. Téchiné tries to address this at one point, when during a discussion of Romeo and Juliet the director character claims we need to ignore _why_ they fell in love. But at least in R&J there's some sort of romantic logic, while in this movie there's none whatsoever.

A real let-down. I love Binoche, and other Téchiné movies are certainly worthwhile (Ma Saison Préférée and Les Égarés are good). This is only for Binoche fans, and I would recommend renting instead of buying.

Sill wondering.......2005-09-29

I was disappointed that I had to read words deciphered from a foreign language. The words were not on the screen long enough to read and still see the film. The plot was very poor. The ending left me wondering if there were more to come.

Average customer rating:

Rendez Vous (Pal)
Starring: Patricia Kaas
Manufacturer: Sony / Bmg Import
ProductGroup: DVD
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ASIN: B000NA233E
Release Date: 2007-01-22

Okinawa Rendez-Vous Ws & Subtitled (Ws Sub)

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You can't resist to Faye Wong
Pure Galic Gold
nice light movie with more thought than expected

Okinawa Rendez-Vous Ws & Subtitled (Ws Sub)
Starring: Tony Leung Ka Fai , Leslie Cheung , Faye Wong , Stephanie Che , and Vincent Kok
Director: Gordon Chan
Manufacturer: Tai Seng
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ASIN: B00006L93N
Release Date: 2002-11-26

Customer Reviews:

You can't resist to Faye Wong.......2006-02-24

Well, here we have a nice comedy-romance-gangster movie, not revolutionary but fun to see. There's cleary a big influence of Wong Kar Waï in the way of filming, wich makes that movie more than just another holiday movie. And there's Faye Wong (Chungking express, 2046). You can't resist Faye Wong.

Pure Galic Gold.......2004-01-12

One of the more surprising critical hits of 2003, Sylvain Chomet's Belleville Rendezvous is a French animation that combines occasional beauty and charm with sardonic grotesquerie. People have commented about its bitchy portrait of a USA where everyone is overweight and over-helpful; it is equally nasty about a provincial France, where everything is grey and nothing is convenient. A grandmother and her dog set out to rescue a cyclist who has been kidnapped by the French Mafia and is forced to race endlessly into a receding projected landscape; she is helped by a superannuated trio of female close-harmony chansonniers marooned in American poverty.
Nothing in this film is mere chance--almost everything we see turns out to be relevant. There is also little dialogue--most of the time, sound effects and music take its place, from the irritating squeak of a mechanic's breathing to the sublimity of Mozart's "Kyrie" as a storm rages at sea. Belleville Rendezvous uses the best of traditional animation techniques and modern technology to produce something sharply funny and beautifully composed; it is not quite like anything you have seen before. --Roz Kaveney

Synopsis
An animated comedy set in France during the 1960s, this is the story about a boy called Champion. His grandmother, Madame Souza, encourages Champion to take part in the Tour de France. Unfortunately Champion is kidnapped by gangsters and so Madame Souza and a jazz trio called the Triplets Of Belleville set out to rescue him...

nice light movie with more thought than expected.......2003-09-13

This movie is basically about a huge tangeld social web involving stolen money, a gangster, his ex-gf, a cop, his gf, two criminals, a shop owner, etc etc.... it's got faye wong and tony leung ka fai in it as well as leslie cheung... as far as these light hk movies go, this is definitely a better one - it's more thoughtful in the way it handles a lot of the material, and isn't all that predictable... worth seeing if you're a fan of any of the actors or the genre.

Les Triplettes De Belleville Original French Version with English Version Included (The Triplets of Belleville) Orignal French Box Set 2 DVDS

Average customer rating:

Not what I expected, but that's a pleasant surprise!
What if Lynch did animation?
Just Short of Being a Classic

Les Triplettes De Belleville Original French Version with English Version Included (The Triplets of Belleville) Orignal French Box Set 2 DVDS

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Product Description

An orphaned boy, Champion, is raised by his grandmother, Madame Souza. Her gift of a tricycle starts a craze for cycle-racing that becomes the cornerstone of their life together. After years of relentless training, Champion makes it to the Tour de France, the toughest cycling event in the world. Alas, Champion and a handful of other top competitors are mysteriously kidnapped by a pair of sinister crooks with hangdog expressions. Supported by her faithful sidekick, her fat and flatulent dog Bruno, Madame Souza sets off to rescue her beloved Champion. An epic adventure leads them across the Atlantic to a vast seaport metropolis named Belleville, headquarters of the notorious French mafia. Lost and confused in the threatening darkness of the great city, Madame Souza and Bruno encounter the Belleville Triplettes, who, in their youth, were a glamorous close-harmony act. Now, these three batty old women are now a bizarre jazz combo. Mme Souza joins the band. At their very first gig, she discovers Champion is being held captive by the mafia Godfather himself! All hell breaks loose, and the chase is on! Do Mme Souza, her dim dog, and the Triplettes have what it takes to outsmart the ruthless French mafia and release poor Champion from its clutches?

Customer Reviews:

Not what I expected, but that's a pleasant surprise!.......2006-06-20

From what little I'd seen or heard regarding the "Triplets of Belleville" I was expecting it to be a kooky Gaulic cartoon featuring the eponymous triplets; which it certainly does near the end of the film, but they aren't the central characters of the film, nor as prominent as I'd imagined. The film is also far more satirical than I had suspected, focusing instead on a young boy, Champion, and his grandmother, Mademoiselle Souza, and their close familial bond. "Triplets of Belleville" opens with an old clip (a movie within a movie) of the triplets romping through their song "Rendezvous" and as the camera pans back we are in a stylized version of de Gaulle's France. Rather than simplistic, "Triplets of Belleville" works on many levels; the desire of the grandmother to fulfill her young grandson's ambition of becoming a Tour de France cyclist, a goal he attains only to become captured by the French Mafia along with other cyclists and is whisked away to Belleville.

Belleville is the perfect amalgam of the worst of American and Americanized France. The satire here is writ large - literally! Mademoiselle Souza doggedly pursues Champion to Belleville accompanied by the family dog Bruno, who likewise plays a pivotal role in the action. Mademoiselle Souza is befriended by the triplets and is pulled into their strange existence. There the story gets to lampoon Francophiles as much as the Americans. This unlikely group eventually tracks down Champion at the Mafia's headquarters where he and the other cyclists are being used for the amusement of a large audience of gamblers. Here the satire is sharpest - a commentary on the nature of society, celebrity culture, and how disposable-natured we are. The cyclists are chasing an illusory dream and their machinery becomes the escape vehicle for them, the triplets, Mademoiselle Souza and Bruno in a hilariously funny getaway.

Those giving the "Triplets of Belleville" a surface read will think it's the oddest cartoon in years as it is punctuated with infrequent dialogue and the images or as distorted as a Picasso painting. Dig deeper and you'll find a much more rewarding movie as there's a great deal of symbolism and satire packed in 81 minutes! The "Triplets of Belleville" isn't easy watching; it's frequently puzzling, mysterious, and otherworldly. Satire is a tough sell but if you like a thinking person's cartoon then "Triplets of Belleville" is the one for you!

What if Lynch did animation?.......2005-10-08

I've seen a few animation films in my life, but "The Triplets of Belleville" is easily the weirdest of them all. There's something of Lynch about it that I just can't quite pinpoint. It is the perfect adaptation of the film-noir genre to the animation scene and the plot (or lack thereof) is developed under a gloomy, grim, dark and intriguing atmosphere.

The film seems to work on many layers and I honestly can't come up with a rational explanation for it, not on a single viewing anyway. I'd be interested in seeing it again, now that the initial weirdness is gone. But something tells me this is something to be experienced more than to be understood.

If you like out-of-the-ordinary stuff in unusual mediums, and in addition somewhat depressing, eerie cartoons somehow connected to the Tour de France sounds like a good idea, then this French animation film is for you.

Just Short of Being a Classic.......2005-02-26

If you're going to watch "Triplettes," watch the original French version--without subtitles, if possible. You don't really need them, as this is virtually a silent film, and what little dialogue there is is confined to announcers, newscasts, and the odd word here and there. I'm not sure if Mme Souza or Champion ever speak, except in the closing moments of the film. But the language is there, and the rhythms of the French original add to the overall effect of this charming film. You also need to hear the catchy closing song in the original, since the English version included in the "music video" extra is as awful a translation of any song I have ever heard, even a largely nonsensical one like this.

And of the film itself? It's extremely absorbing visually; in fact, you probably will want to watch it at least twice, to catch all of the little details loaded in each scene. There are dozens of brief moments that contribute largely to the film's appeal, even if the plot seems to go nowhere and feels a lot longer than 80 minutes. In order to appreciate this film--which is essentially a "search and rescue" film like the other major animated feature from 2003, Finding Nemo--you must accept it at its own leisurely pace, savouring the many asides and set-pieces (including a hilarious cabaret act performed by the titular Triplets on a fridge rack, newspaper, and vacuum cleaner) and seeing them as essentially a series of loosely connected shorts. The one hole in the film, then, is the central character of Champion, a blank slate who seems totally unaffected by the fact that he has been stolen away from his home and forced to live in slavery in a bizarre gambling sport. Not only does he not appreciate Grandma's considerable efforts to rescue him, he doesn't even seem to notice she's there. The film isn't really about him at all, which makes most of the last act seem superfluous.

But do see this film, for the marvellous characters of Mme. Souza, her oversized dog, Bruno, and the Triplets themselves. And see it for the great visuals and the fabulous jazz score. And if you still want an edge-of-your-seat rescue plot, watch Finding Nemo again.

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Rendez-Vous Mortel

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One of his lesser works
"I feel your pain."
Vicarious Paris Experience
Mediocre Picture Quality - VHS Copy
Love and its illusions Paris style.

Les Rendez-vous de Paris
Starring: Clara Bellar , Antoine Basler , Mathias Mégard , Judith Chancel , and Malcolm Conrath
Director: Eric Rohmer
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Amazon.com

The talk-fest films of aging French New Wave filmmaker Eric Rohmer (My Night at Maud's, Pauline at the Beach) have grown less fashionable--and watchable--over the years. Rendezvous in Paris, though, is his breeziest film in years. Three unconnected stories of modern courtship play across the screen with a wonderful supporting player tying the stories together: the colorful streets of Paris. In the first story a young woman hears her boyfriend is seeing other women, leading her into a sticky, amusing situation. Another woman doesn't want to visit her boyfriend's apartment in the middle piece. She suggests, though, they have an affair while posing as tourists. The finale, the best segment, focuses on your typical aloof artist who warms to a newly married woman visiting an art gallery. Rohmer's pacing may be trying for those weaned on American romantic comedies, but this film is one of his more accessible, as the game of courtship is universal. --Doug Thomas

Customer Reviews:

One of his lesser works.......2004-04-30

I have seen all but 2 of Eric Rohmer's feature films, and being that he is my favorite director I am very critical of what I like and don't like. This movie is ideal for two types of people: Francophiles who enjoy different sights and sounds of beautiful Paris (at times the movie is almost like a travelogue, especially in the 2nd story) and Eric Rohmer completists. This movie was a real treat compared to Rohmer's last few movies, which were becoming more tedious and uninteresting since "A Tale of Springtime". This movie was made at the same time Rohmer was in the midst of his Four Seasons series and pales in comparison to any of them. Rohmer fans will love it and people looking for a slight, forgettable talkfest in Paris. For anyone looking to enter the world of Rohmer, I'd recommend the two films that immediately proceeded this one, "A Summer's Tale" & "Autumn Tale" over this

"I feel your pain.".......2003-05-04

Director Eric Rohmer's film "Rendezvous in Paris" is composed of three short films which examine the nature of infidelity. Each film centres on the relationships of young couples who are in varying degrees of commitment.

The first film, "Rendez-vous de 7 heures," is the story of Esther (Clara Bellar) and Horace (Antoine Basler)--both students in Paris who have agreed to a mutually exclusive relationship. When Horace makes excuses why he can't meet Esther one night, her suspicions are aroused. Esther acknowledges that Horace was a bit naughty with girls before he met her, but she finds it difficult to conceive that he may actually be unfaithful. An odd chain of events leads Esther to the truth.

The second film, "Les Bancs de Paris" is the story of a young woman who begins an illicit relationship with a young, single professor. The woman (and we never know her name) lives with her boyfriend, Benoit, but that relationship is stale and unsatisfying. The professor and the woman engage in a number of assignations, and the film almost serves as a tour guide to Paris as the couple brave all sorts of weather to meet in public parks and various Parisian landmarks. The professor tries to pressure the woman to consumate their relationship, but she is quite content to dally.

The third film, "Mere et Enfant 1907" is the story of a painter who takes a casual date to the museum, but they have nothing in common. It's soon clear that the date is not going well. A young woman sitting in front of a Picasso painting in the museum catches his eye, and he abandons his date to pursue the stranger who says she is on her honeymoon. Even though she's a newlywed, she dallies with the idea of an illicit relationship with the painter.

The second film is really the strongest of the three--in spite of the fact that the characters remain nameless and the viewer is not privy to their lives beyond the assignations. In this film, Rohmer captures the bizarre dynamic of infidelity--the fact that the intruder (the professor) is not a separate human being from the soon-to-be cuckolded Benoit--the professor's fate is inexplicably entwined with Benoit's. As the lover, he is the antidote for the stale relationship, and he is chosen BECAUSE of Benoit. The woman makes it very clear that the professor is an object--an object of distraction and the catalyst to remove her from the relationship, but the professor fails to grasp this concept and remains confused about the true nature of his role until the end. I love Rohmer films, and this is one of his best--displacedhuman.

Vicarious Paris Experience.......2001-01-09

Ever wonder what it's like to be a romantic in the most romantic city in the world?

IF so, this movie is for you. The three stories are nice, simple, and comprensive. You'll enjoy them, and enjoy the sites.

Just sit back, and enjoy the trip through lovely Paris, France . . .

Mediocre Picture Quality - VHS Copy.......2000-02-29

Really good movie, 3 interesting stories, good acting, great scenery of Paris. The only problem is the quality of the VHS picture. I purchased a new copy from this store, and watched it the very first time. I was very disappointed with the picture that kept moving constantly.

Love and its illusions Paris style........1998-11-21

Eric Rohmer's three stories about the allure of love and it's illusions. One of the most insightful films about relationships that I have seen. Each story is real in it's depiction of relationships in a style that is unlike anything made in America. You will either be disapointed or touched by the stories as you see a litte bit of your own experiences portrayed. A unique look at young love by a elderly master who provides keen insight about young love.

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