Great Film overall

The film was still a fun one that will make you laugh and have you leaving the theater feeling like you just stole something valuable and got away with it.

Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.

It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

What struck me immediately when I spotted this DVD in a library was the unlikely teaming of the two leads; Yvan Attal personifies aggressiveness, virility, a sort of thinking man's ferret, hyper-active and largely insensitive whereas Bruni Tedeschi personifies fragility, porcelain beauty, vulnerability, I've more or less wanted to protect her in virtually every film I've seen her in because she exudes that rare quality that Judy Garland had. This is definitely Valeria's kind of film and by now she could phone it in; it's very much in the groove of Marion Vernoux's Rien a faire even though Kahn is light years short of Vernoux on the basis of these two movies. I would and will continue to watch Valeria in anything but I won't be in a hurry to watch this one again nor buy the DVD.

Yvan Attal runs circles around Valeria Bruni Tedeschi in Cédric Kahn's balls-out story of love passion and emotional confusion, 'Regret'/'Les regrets,' a movie about a youthful love affair renewed fifteen years later when both lovers are married to other people. The heartbeats are fast, and even if it feels more like anxiety than passion, Kahn and his stars take us on a wild ride. This is a lot of silliness, but it's also fun and beautifully photographed, and it does powerfully evoke the feelings of adolescent romantic obsession -- except that the adolescent here is a a grown man acting very immature and unwise. If there's an American remake, it can't be this good, because the French can do l'amour fou better than we can. Mathieu Liévin (Attal) is a middle-aged architect, married but without children, who runs into old flame Maya (Bruni Tedeschi) in the town square while back home with his mom dying in the hospital. The camera tracks in on both of them with that "gotcha' effect that means, these two folks are going to zoom in on each other pretty soon.What follows is all the chaos and excitement of a first-rate thriller, but without any dead bodies,though there are moments when you wonder if Matthieu and Maya are going to make it through alive. Much reckless endangerment occurs here, as well as chasing cars and trains and running from a man armed with a chainsaw. Maya turns out to have a drunken husband called Frank (Philippe Katerine) who's in the wine business and has a tendency to hatch elaborate schemes involving outside funding. Maya is maddeningly indecisive. Fifteen years ago Matthieu and Maya parted because they were driving each other crazy. They get right back into it in short order, except that life now is much more complicated.Matthieu's architect wife Lisa (Arly Jover) is pressuring him to enter competition for a major project. After his mother dies his ne'er-do-well brother wants to sell her house to pay off debts. Frank has his schemes, which Maya keeps committing to; she also has a daughter by a deceased African husband. The omnipresence of cell phones and the possibility of texting (energetically used, and romantic, here) seems to speed up the confusion and the wild pursuits. Maya is on and off about all this, ready to run off with Matthieu one minute, completely opposed the next.Kahn, who wrote as well as directed, has experience with serial-killer, crime-suspense, and sexual-obsession themes, and the mood here is one of thinly veiled criminal insanity on the part of Matthieu, with Maya as an unreliable but often equally mad collaborator. The film is skillful at weaving this pattern of wild behavior impulsively around the obstacles of the principals' everyday lives and commitments. This is adultery, of course, but it's a pumped-up, hyperventilating kind that we've rarely seen on screen, a kind that looks more akin than usual to flat-out criminal activity and is paced like a thriller. Attal is good as the hyperactive lover in his second adolescence, and Bruni Tedeschi is convincing and superb looking as the old flame he can never see without grabbing and kissing and, more often than not. quickly making love to on a table top or a stairway. Full disrobing never occurs. Shouting matches can occur anywhere. Matthieu is continually confrontational, and Maya is unable to confront.Some Phillip Glass pieces are particularly well used during a ominous car ride when the adulterous couple is rushing away together and their desperation seems suicidal. The good-looking images are thanks to cinematographer Céline Bozon.None of this necessarily means anything, but Kahn is having fun with his blend of unlikely elements and he takes the viewer on an enjoyable ride. The near-absurdity of the behavior at times drew derision at Cannes. On the other hand, the feelings that are evoked seem perfectly valid as a description of the vagaries and torments of love -- in a brilliantly heightened and updated form.Shown at Cannes, 'Les regrets' debuted theatrically in France September 2, 2009 to fair-to-good reviews. Shown as part of the Rendez-Vous with French Cinema at Lincoln Center March 2010.

Mathieu Liévin is an architect whose life seems stable and ideal. He is a quiet man, is in business with his girlfriend and seems very successful. As is ailing mother reaches the palliative stage of her illness, his life is about to change drastically. When he crosses a former lover on the street, the two of them begin a passionate and destructive affair.This relatively well acted film suffers from a slightly muddled plot and weak characters. At its heart, the biggest problem is that writer/director Cédric Kahn seems unable to decide whether this is a film about Mathieu or a film about Mathieu and his lover Maya. This weakness is constant throughout the entire movie up to the very ending and I am surprised a French director would not even notice this fault back at the writing stage and commit one way or the other. Right off the bat, this is frustrating because any writer who does not know what he is writing about can't create a lasting and quality film experience.The second fault (related to the first) is that it is difficult to empathize with Maya, and the depressed and bland characterization by Valeria Bruni Tedeschi make it even very difficult to imagine Mathieu would feel so passionately about her. She is unattractive, lifeless, moody. One must suppose that the trial of losing his mother is what is affecting Mathieu so strongly but if it is so, it is rather vaguely implied.Where the movie shines is in certain scenes showcasing how desperate and wild people will get when passion overcomes an individual, affecting reason. It was particularly interesting to watch Mathieu seemingly act like a teenager, throwing himself over running cars and generally acting like an hormone-crazed younger man. But to the very disappointing end, Les Regrets never ever commits to themes that it wants to explore. The whole structure is very much that of French art cinema but the artistry on display here is all style, no substance. Giving it a 3 because Attal was rather convincing in certain scenes.

I recently saw this at the 2010 Palm Springs International Film Festival. This a film about romantic obsession between two forty-something former lovers. Mathieu Liévan (Yvan Attal) is a successful architect in the city and in business with his wife Lisa (Arly Jover) who returns to his rural hometown to visit his dying mother. He sees his former girlfriend Maya (Valeria Bruni Tedeshi) who has moved back there from Africa with her daughter from a previous marriage and new husband Franck (Phillip Katerine). Mathieu and Maya soon resume their long lost love with an illicit affair. These two really know how to push each others buttons for both good and bad. This film is a little far fetched at times but it keeps your interest because you never know which way the story might turn and it keeps you guessing as multiple situations arise. Written and directed by Cedric Kahn it features a powerful music score from multiple Oscar nominee and prolific film and television composer Phillip Glass. Also features the 1965 recording of Nina Simone "Sinnerman" that viewers will find familiar as it's opening bars are featured in the current television commercial campaign for HTC mobile phones. It kind of comes out of nowhere in the middle of the film and doesn't really add to the flow of the film. A fine cast and nice performances although the roles of the husband and daughter could have been more developed. I had a few problems with this film but would still recommend it and give it a 7.0 out of 10.