Jacques Audiard, a man that had written for the cinema with some degree of success, decided to try his hand at directing with this production. For this event he decided to adapt a Teri White novel, "Triangle", rather than create the scenario himself, which is a strange choice for a man that contributed original material up to this point. The results are mixed. The film shows elements of crime, suspense and in a way, it is a road movie.
We are given two narratives that interweave each other that in many aspects is more style than substance. The device serves to confuse the viewer. Nothing is clear until the end. How is Simon connected with Marx and Johnny, one wonders. Of course, it is revealed on the last minutes of the film. There are aspects of homosexuality in the relationship between Marx and Johnny, and it makes one wonder why Simon is so interested in finding out from a male hustler what goes on in his life.
Jean Yanne's Simon is the most interesting character in the film. He is a welcome presence in whatever vehicle he decided to appear. On the other hand, Jean-Louis Trintignant does not fare as well with his pushy Marx. Mathieu Kassovitz is an annoying presence in the way he was asked to play Johnny. Bulle Ogier is only seen briefly.
Gerald Sterin's dark photography is perfect for the dark atmosphere the director was trying to achieve. Alexandre Desplat's musical score works well within the context of the film.
We are given two narratives that interweave each other that in many aspects is more style than substance. The device serves to confuse the viewer. Nothing is clear until the end. How is Simon connected with Marx and Johnny, one wonders. Of course, it is revealed on the last minutes of the film. There are aspects of homosexuality in the relationship between Marx and Johnny, and it makes one wonder why Simon is so interested in finding out from a male hustler what goes on in his life.
Jean Yanne's Simon is the most interesting character in the film. He is a welcome presence in whatever vehicle he decided to appear. On the other hand, Jean-Louis Trintignant does not fare as well with his pushy Marx. Mathieu Kassovitz is an annoying presence in the way he was asked to play Johnny. Bulle Ogier is only seen briefly.
Gerald Sterin's dark photography is perfect for the dark atmosphere the director was trying to achieve. Alexandre Desplat's musical score works well within the context of the film.