That was an excellent one.

I was totally surprised at how great this film.You could feel your paranoia rise as the film went on and as you gradually learned the details of the real situation.

Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

One of those movie experiences that is so good it makes you realize you've been grading everything else on a curve.

The story of a man (a very good performance by Charles Berling) over a 30 year period, starting at the beginning of the 20th century. It explores what matters to him -- the women in his life, his morality, and later his porcelain factory.It poses some important questions; how does one balance morality, passion and being an artist? And when is the pursuit of perfection a vice or a virtue?There are flaws; some interesting plot lines are simply dropped, and other less interesting ones get more time than they need. Isabelle Huppert, while always good is surprisingly a bit one-note, and Emmanuelle Beart can't really pull off being an old lady.But this ultimately felt like more than the sum of its parts. By the end I felt moved and thoughtful, and it's 3 hour length, while deliberate, was never boring.Critics were very divided - some coldly dismissed it as dull and seemed angry at Assayas for betraying his earlier hipper, more energetic films (I'm just impressed by his range), while others, like me, were really taken in by the Dickensian sweep.

The film was sensitive, but disappointing. It was over-extended and in spite of the elements to a period flick being present -- set in a small village, a devoutly Protestant porcelain empire in Limoges, the Swiss Alps, and World War I -- it lacked the period movie breadth like how the Italian's would do it. Not even the beauty of Béart nor the shaky camera technique used throughout the movie could hold our attention for such a long time.Oh well, this was Olivier Assayas' first period film, a departure from his contemporary works. That's a valid excuse for the film, I guess.

The first hour is much more closer than Visconti's Gattopardo than others recently films: a breathtaking, sensitive, exquisite look of the protestant bourguesie of Limoges, at the beginning of the XX cenntury when "an old age" is sinked. Then, the epic turns into Bertolucci`s Novecento. But actually, the whole love story is undoubtely a genuine Truffaut. Huppert is superb, but also Berning and Beart. The camera moves in a way you've forgotten. A must see.

For the first time Assayas has left the contemporary Paris settings of his films and tried his hands on a period picture, set in a small village in the South, a china factory in Limoges, the Swiss Alps and on the battlefields of WW1. The film is a brave attempt to revive Luchino Visconti`s lavish epics but unfortunately lacks the Italian`s breath. The story could have easily been told in 90 minutes (instead of 180!), and even if some scenes and locations look gorgeous (especially the ballroom-scene!) and Assayas` (and cameraman Eric Gautier`s) usual trademark, the nervous camerawork, goes down well with a period picture, all that isn`t enough to hold our attention for such a long time. Nothing in this films can really surprise us, not even the beauty of Emmanuelle Beart or the acting quality of Isabelle Huppert, and as the film potters along one hopes Assayas will rapidly go contemporary again. Not really bad but definitely ways apart from the quality of his earlier films.