Anything for Her (Pour elle) was released to much acclaim in France and then interna-tionally. We never saw it here in the USA because our own Paul Haggis bought the rights and remade it as The Next Three Days -- lengthening it by about a half an hour in the process. The Haggis version had its moments (and performan-ces), but I would love to have the opportunity to see the French original, particularly now that I've seen Cavayé's follow-up. Currently his earlier film is available via Amazon in both NTSC and PAL formats. You can also "Save" it in your Netflix queue, but these days, saving a film on Netflix can mean finally being able to view it anytime between next year and never. (What happened to this company that used to pride itself on the fact that, if a film was available on DVD, then it was available at Netflix?)
title, which will only put buffs in mind of the classic John Boorman movie with Lee Marvin. And yet this new Point Blank -- while having in common only the fact that, like its earlier namesake, it is part of the immensely popular (and populated) "crime" genre -- is every bit as good, in its own, much less "heavily stylish" but even more enthralling, manner.
Florent Emilio Siri, in his exceptional thriller The Nest and his one American film Hostage. This "third party" does for crime movies what a "threesome" does for certain love stories: It adds immense interest and event to the situation, even as it increases both the risk and (less often) the reward.
Gilles Lellouche, shown below, left, and in the photos further above), constantly on its toes.
Roschdy Zem (above, right. and at left, two photos up), who, in the last couple of years alone, has been seen to fabulous effect in everything from The Girl from Monaco to Tête de turc, Outside the Law and most recently at Rendez-vous with French Cinema in Happy Few. I can think of few French actors possessing more stature (metaphoric or actual) than Mr. Zem, and here, once again, he comes on like gangbusters, delivering the goods -- and then some.
Elena Anaya (above, left, and seen in NYC over the past year in Mesrine, Hierro and Cairo Time), who brings immense strength and specificity to a role that could -- until she is called upon to really struggle -- be merely passive. The top-dog policeman is played by Gérard Lanvin, (below, left) with Claire Perrot (at bottom) as the underling most intent on seeing some kind of justice upheld.
The two quiet, relaxed scenes in the film are also done exactly right. In one of them, a pregnant woman must coax her man into having sex (he's worried about harming the baby; she knows better). It's the kind of real, lovely little scene you'd never find in an American film, and it sets up the tone and characters splendidly for what is to come.
Magnolia Pictures. (You can view the complete set of upcoming playdates around the country, with cities and theaters, here). If Magnolia gives the film the push that Music Box Films gave Trust No One, the company could very well have a modest art-house hit on its hands.