Wordiezett So much average

Micitype Pretty Good

Actuakers One of my all time favorites.

Rosie Searle It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

gubacs2 Iosseliani is a truly controversial figure of film making; You either like his films or fell asleep watching them. No in betweens. Having only minimal traditional narrative or story telling clichés, the film manages to illustrate true emotions without being bombastic or over-sophisticated. Doing this by showing everyday people who are only drifting with the waves of life, wishing to get away from their existence.There's a slight sarcasm involved in the portrayal of how everyone is unhappy with what he/she has and wants to be like the other who wants to be like him , and vice versa.(Really sharp.)However, Itt all ends up in positive, placing emphasis on the need for seeking personal freedom and finding hope and refugee in true friendship, in a plastic, greedy, selfish world.Personally, i think it has one of the most touching end sequences in film history.

denial-3 I understand the purpose of the director to tell stories that aren't stories, but the way he tried to show time passing by (the couple of joggers, who first appear jogging together, than jogging with a stroller (sic!), than the man alone...) and to link the "adventures" of the characters (the final scene, with the maid climbing a mountain seeing the big black guy on another cliff, and then seeing the boat with her former employer and saying "Oh, a boat!") were awful. At the same time, I liked the way he portrayed the middle-high class, even in an excessive way. I think it is a lousy movie. If you want to watch it, do it as a film school student, trying to see technical aspects and issues. It will help a lot.

Keith F. Hatcher Here indeed is film-making in its purest art form. Iosseliani has, in this film, the only one of his I have had the greatest pleasure of seeing, manages to evoke such subtle ideas in each pan, in each scene, which in themselves are miniature stories, each one a little jewel, which little by little begin to string along, creating a thread which tells the whole story. And the result is a treasure, something to value for a long time.To call this film a comedy, is almost an insult: it is far too subtle for such simplistic definition. Here is wit, which is not just for easy laughs; here is wit in its subtlest form, such as the British sense of humour in the fifties and early sixties of the past century. Here is the voice of a visionary who creates unforgettable tid-bits, visual savouries, such that each scene in itself is a suggestive, evokeful treasure, combining to thread together an intelligent story for intelligent viewers. No, one should not try to compare Iosseliani with Almodóvar or Lynch, perhaps a slight influence or comparison with Fellini at times, because the concepts of how to exhibit subtle nuances of wit in exquisite expressiveness, very often with hardly any dialogue, belong to another sphere.The presence of a great bird, similar to a pelican, as well as the two dogs - a Labrador puppy, and a short-legged variant of the Border Collie, affords that emblematic and enigmatic delicate touch which helps this film to be something else: it is not comical and it is not laughable; this film is cinematography as art.My vote is much higher than the present average shown in IMDb.

raybatchelor A superb blend of Parisian life akin to Almodovar's in depth analysis of life in Madrid. The surrealism of the Marabou and the end sequence adds the Bunuel touch. For good measure add a series of superb characters who would not have been out of place in any of the Twin Peaks episodes. More Calvados please and another movie as good as this one - a rare visual event.