You Ain't Seen Nothin' Yet Page #3

Synopsis: From beyond the grave, celebrated playwright Antoine d'Anthac gathers together all his friends who have appeared over the years in his play "Eurydice." These actors watch a recording of the work performed by a young acting company, La Compagnie de la Colombe. Do love, life, death and love after death still have any place on a theater stage? It's up to them to decide. And the surprises have only just begun...

Genre: Comedy, Drama

Director(s): Alain Resnais

Actors: Mathieu Amalric, Pierre Arditi, Sabine Azéma, Jean-Noël Brouté

Production: Kino Lorber

1 nomination.


IMDB:: 6.3
Metacritic:: 69
Rotten Tomatoes:: 84%

You Ain't Seen Nothin' Yet Movie Quotes »

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Year:: 2012
: 115 min
: $9,494
: Website
: 48 Views

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Stand up straight.
How come you aren't with Mathias?
He's like a lost soul.
Don't worry about him.
You shouldn't infuriate the boy.
He adores you!
First, you were wrong
to take him as your lover.
I told you that at the time
but what's done is done.
Eurydice, my dear,
you can confide in a mother,
especially when...
Especially when she's your own age.
I mean when she's young.
Tell me, what has he done to you?
Tell me, what has he done to you?
Sit up straight.
Nothing, mother.
Nothing, mother.
Nothing, mother.
"Nothing, mother"
doesn't mean a thing.
He certainly adores you.
Maybe that's why you don't love him.
We're all the same. We won't change.
Is that coffee good?
Have it. I don't want it.
You don't love him anymore?
Who?
Mathias.
You're wasting your time, mother.
You're right, one must follow
one's instincts above all.
I've always followed mine
like the real stage animal that I am.
But you're not much of an artist.
Sit up straight!
Here's Vincent!
He looks furious.
My dear,
I was looking all over for you.
- I was here, with Eurydice.
- That manager fellow is impossible.
We have to wait here
an hour or more.
We'll perform without eating.
Last night's storm wasn't his fault.
Why must you always stick up
for that young fool?
A dead loss.
He's a dead loss!
Why does Dulac keep
someone so useless?
Where are you going?
I'm going outside, mother.
Hello, Mathias.
Where's Eurydice?
She just went outside.
Poor boy. He's mad about her.
Must that fool keep grating his violin?
It's annoying.
He's waiting for the train.
That's no reason.
Do you remember
the Grand Casino in Ostend?
You were so handsome!
Do you remember the first day?
"Madame, may I have this tango?"
"But. Monsieur.
I don't dance the tango. "
"It couldn't be simpler. Madame.
"I'll hold you.
"All you have to do is relax. "
The way you said that!
You held me so tightly
that my dress seams
left their mark on my skin.
The uncertain, unsettling first day.
The seeking, sensing and guessing
before we know one another,
already aware
that it will last a lifetime...
Why did we part two weeks later?
I don't know.
I can't remember.
Were you playing earlier too?
Yes, I was.
You play so well!
You think so?
What's the name of that tune?
I don't know. I make it up...
Eurydice! There you are!
Yes!
I've just seen Mathias.
He's looking for you.
Yes!
Your eyes...
are pale blue.
Yes.
One can't tell what colour yours are.
They say it depends
on what I'm thinking.
Right now, they're dark green.
They say that's when I'm very happy.
Who are "they"?
Others.
Eurydice!
Yes!
Don't forget Mathias!
Yes.
Do you think you make me

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Alain Resnais

Alain Resnais (French: [alɛ̃ ʁɛnɛ]; 3 June 1922 – 1 March 2014) was a French film director and screenwriter whose career extended over more than six decades. After training as a film editor in the mid-1940s, he went on to direct a number of short films which included Night and Fog (1956), an influential documentary about the Nazi concentration camps.Resnais began making feature films in the late 1950s and consolidated his early reputation with Hiroshima mon amour (1959), Last Year at Marienbad (1961), and Muriel (1963), all of which adopted unconventional narrative techniques to deal with themes of troubled memory and the imagined past. These films were contemporary with, and associated with, the French New Wave (la nouvelle vague), though Resnais did not regard himself as being fully part of that movement. He had closer links to the "Left Bank" group of authors and filmmakers who shared a commitment to modernism and an interest in left-wing politics. He also established a regular practice of working on his films in collaboration with writers previously unconnected with the cinema such as Jean Cayrol, Marguerite Duras, Alain Robbe-Grillet, Jorge Semprún and Jacques Sternberg.In later films, Resnais moved away from the overtly political topics of some previous works and developed his interests in an interaction between cinema and other cultural forms, including theatre, music, and comic books. This led to imaginative adaptations of plays by Alan Ayckbourn, Henri Bernstein and Jean Anouilh, as well as films featuring various kinds of popular song. His films frequently explore the relationship between consciousness, memory, and the imagination, and he was noted for devising innovative formal structures for his narratives. Throughout his career, he won many awards from international film festivals and academies. more…

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