The Big Picture

French crime-drama, an adaptation of the Douglas Kennedy novel, about a man whose romantic jealousy pushes him to drastic measures. Stars Romain Duris (The Beat My Heart Skipped) and Catherine Deneuve (Potiche).

Paul (Duris) is a successful man – partner in one of Paris' most exclusive law firms, big salary, big house, glamorous wife (Marina Foïs) and two picture perfect sons. But his life turns when he gets two bombshells: his mentor (Deneuve) is terminally ill and his wife is cheating on him. When Paul confronts the man, a scuffle inadvertently leads to death. With his former life in tatters, Paul removes traces of his crime, assumes the dead man's identity – a photographer – and flees for an isolated part of former Yugoslavia on the Adriatic coast.

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Rating: 4 Flicks Review:

Like its fugitive protagonist, The Big Picture leaves behind its proverbial roots to journey somewhere else: it starts out with the makings of a thriller, cycling through familiar elements such as passion crimes and identity theft, but eventually settles into redemptive character drama mode with shades of Michelangelo Antonioni’s existential classic The Passenger. Adapted from Douglas Kennedy’s novel, it’s a thoroughly absorbing and well-acted film, casting Romain Duris (Heartbreaker) as Paul Exben, a high-flying lawyer who’s forced to swap the comforts of a cushy job and family life for a constantly shifting existence fraught with uncertainty and danger.

Director Eric Lartigau wisely avoids narration – the bane of many novel-to-screen adaptations – to convey Exben’s passages of new-found isolation, choosing instead to tell his story through strong visuals, atmospheric locations and perhaps most of effective of all, Duris’ gripping, nuanced performance. Practically present in every frame, Duris’ face is blessed with a kind of scruffy Vincent Gallo-like magnetism and vulnerability, and you can always read what Exben thinking or feeling at any given moment: the pain of leaving his children behind, the constant fear of being exposed, the sense of liberation and contentment when he reinvents himself as a documentary photographer. Pacing flags towards the end and occasionally the film plays fast and loose with plausibility but it finishes on a graceful, humanistic note, if also fittingly ambiguous and potentially divisive enough that it doesn’t feel so patly resolved.

By Aaron Yap, Flicks.co.nz

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Release date: July 14th 2011.

We haven't received times for this movie in this location yet. However these are updated as cinemas announce them, so check back soon. Hopefully the lovely cinemas in your location will choose to play it shortly. ~Ed.