French director Laura Spanish with Jin Austin says that a diet from romantic literature is a recipe for disappointment in real life. Partial honor, a partial referendum on all the love stories that make it look easy, fill the alternative that is somewhat similar to the unfortunate gap left by films such as “four wedding parties and funeral” and “Diary’s Bridget Jones” inspired by Austin. Sony Pictures Classics plans for a limited version on May 23, a week later.
While this type of entire ROM-Com to broadcast, this dual-language theatrical sympathy of Sony Pictures Classics looks like the best type of return. It was presented as a wonderful farce, complete with personalities that intervene (naked) through the wrong doors and rides across the tense countries, in which she complains about the French language (does not realize her companion speaking the language), and the film simultaneously of the old style and installed, is realistic so far in eating it in the modern introduction.
It was blocked in both love and literature, an angry French car operating in Shakespeare and Co., a English language library that just a few meters away from the Notre Dame Cathedral in Paris. According to Austin’s criteria, Agath-which is closely known with Ann Elliot in “persuasion”-may seem at a real risk of compassion, after reaching the mid-thirties of life without possibility. Years have passed since there was a great kiss, and the desperate singular finds itself pouring all the perfect and frustrating it into the creative writing exercises that are not even … inspiration during the solitary dinner while staring at the depths of the modern Cup.
Behind the back of Agath, her best friend (if not suitable for repeatedly) sends Felix (Pablo Polly) the first few chapters of this new project to the author’s former writer’s residence in the former former Austin residence, hoping to give a “donkey kick.” Friendship, as Austin herself wrote, is “the finest conditioner for the proverbs of love with disappointment.” The next thing you know, AGATHE crosses the channel to visit the author’s property in Chawton. There, she disintegrates with (but also falls) from a relative of the distant author: the great great Austin Oliver (Charlie Anason).
A graphic filmed the entire movie in France, but he really feels as if he had a foot in both cultures. Anson could be a young brother of Robert Evert, and he clearly studied every flutter and well -being in Arsenal Hugh Grant, combining these tools in a copy of the twenty -first century of the original model of Mr. Darcy. From the first meeting of gunpowder between Agat and Oliver, where he graduated from the phrase and immediately retreated from his silence, the masses must find themselves hidden for these two to realize their quality.
But Agat is wrestling with more than just insecurity, as kissing Felix before she took the phrase has sparked new feelings with her old boyfriend. Félix is serial women and CAD classic I have always felt with uncomplicated sexual tension, despite his many years of Platonic companionship, and even in his absence, this development stands into the complexity of everything you feel for Oliver. (Fearing that the loyalty of the viewers will lie, the degree of composer Peter von Bouhl is practically quoted from “Yumiji’s topic” from “in the mood of love”, which is a romantic melody that is impossible to resist.)
A few decades ago, a movie like this may have had no little chance of success in competing with Hollywood ROM Com, but this continuous flow has moved well, leaving a wide open space for the audience who is still looking to laugh at their local artistic home. As the title of defeat is almost a defeat, “Jin Austin has destroyed my life” has an exciting relationship to such an escape, with the realization that the imagination in all its forms (whether literary or cinematic) spoiled the expectations of many people about what love might be.
A graphic actor casts a slightly appearance to play relief. Recordord is often far from the ritual jacket in French films, with her tranquil characters and vacant expressions, and at one time appears innocent and sexually enticingly-and is very better, because it puts an unrealistic criterion for young women to aspire, while throwing the opposite men. Instead, it outperforms being embarrassing, and woven physical comedy (including Pratfalls) into a role that does not turn the head of every man you meet. Although AGATHE is very beautiful in a less traditional way, Piani allows her mind and personality to be the most attractive features of the character.
All Austin’s novels end with her characters towards the altar, but not this film, which does not pretend that the marriage that seems good can only lead to happiness yet (George Elliot is not intertwined in “MiddleMarch”). Instead, he is still focusing on the fate of the writing profession in Agath, where he ended with an almost perfect conclusion as the American-based documentary legend in Paris appears for a long time-Frederick Weizmann. The film may aim to prick the delusions that trivial love stories, but it comes out in a cloud of imagination in the same way, first to Paris, then to England, before returning us to something that resembles the real world.
Austin may not have a bad influence, because it was she who wrote, “Learn about your happiness. You only want patience – or give it a more wonderful name, we call it hope.”