Novo (2002)

Note Générale:

5,9/10   

Réalisateur:

Jean-Pierre Limosin

Scénaristes:

Christophe Honoré (writer)
Jean-Pierre Limosin (writer)

Date de sortie:

25 décembre 2002 (France)

Genre:

Drame | Comedie | Romance

Intrigue:

Those who loved Graham yesterday shouldn't count on today. Those who love him today risk being heartbroken tomorrow...

Plot Keywords:

Memory | Notebook | Memory Loss | Short Term Memory | Bare Breasts

Avis des utilisateurs:

what you see is what you get

Ensemble

Eduardo Noriega	...	Graham
Anna Mouglalis	...	Irène
Nathalie Richard	...	Sabine
Eric Caravaca	...	Fred
Paz Vega	...	Isabelle
Lény Bueno	...	Antoine
Julie Gayet	...	Julie
Agathe Dronne	...	Céline
Bernard Bloch	...	Docteur Sagem
Vincent Dissez	...	Simon
Catherine Bidaut	...	Nadine
Pascal Tokatlian	...	Gérard
Dominic Gould	...	Gilles
Stéphanie Picard	...	La serveuse
André S. Labarthe	...	L'homme au musée

Réalisé par
Jean-Pierre Limosin

Scénaristes (dans l'ordre alphabétique)
Christophe Honoré		writer
Jean-Pierre Limosin		writer

Produit par
Enrique González Macho	....	associate producer
Hengameh Panahi	....	producer
Tiziana Soudani	....	associate producer

Musique originale
Zend Avesta
Loïc Dury
Mathieu Dury		(as Kouz-1)
Christophe Minck

Image
Julien Hirsch

Montage
Cristina Otero		(as Cristina Otero Roth)

Distribution des rôles
Stéphane Batut
Alex Zimo

Création des décors
Jimmy Vansteenkiste		(as Christian Vansteenkiste)

Création des costumes
Maripol

Maquillage
Nurith Barkan	....	key makeup artist
José Lucas Casas	....	key hair stylist

Directeur de production
Belén Bernuy	....	production manager: Spain
Mohand Hadjlarbi	....	assistant unit manager
Daniel Marchaudon	....	unit manager
Thierry Peythieu	....	assistant unit manager
Thierry Verdier	....	production manager

Assistant réalisateur
Laurent Perdeau	....	assistant director
Thierry Peythieu	....	assistant director
Thierry Peythieu	....	unit director

Département Art
Marie-Pierre Cazaban	....	assistant decorator
Sylvie Cousin	....	painter
David Fargot	....	painter
Sebastien Teillet	....	construction coordinator

Technicien du son
Cédric Deloche	....	boom operator
Eric Ferret	....	foley recordist
Laurent Gabiot	....	sound
Gabriel Hafner	....	sound editor
Gabriel Hafner	....	sound mixer
Dominique Mazière	....	foley artist
Pascal Mazière	....	foley artist
François Musy	....	sound editor
François Musy	....	sound mixer
Johann Nallet	....	sound recordist

Visual Effects
François Dumoulin	....	digital compositor

Cascadeur
Francis Auguy	....	stunt driver
Gilles Cappelletto	....	stunt driver
Richard Dieux	....	stunt coordinator
Christophe Marsaud	....	stunts
Eric Mondoloni	....	stunts
Alexandrine Roux	....	stunts
Frédéric Vallet	....	stunt coordinator
Olivier Vitrant	....	stunts

Caméra et Département Electrique
Marco Baurepaire	....	gaffer (as Marc Baurepaire)
Denis Gaubert	....	second camera operator
Sebastien Gaulon	....	additional electrician (as Sébastien Gaulon)
Thibault Grabherr	....	still photographer
Arnaud Gross	....	additional electrician
David le Mevel	....	electrician
Jean-Claude Moireau	....	still photographer
Sophie Pejus	....	first assistant camera
François Perrault-Alix	....	key grip
Bertrand Perrotin	....	second assistant camera
Pénélope Pourriat	....	additional assistant camera
Ivan Rémy	....	additional electrician
Honoré Soubrie	....	additional grip

Département Casting
Florence Ayivi	....	casting: children
Audrey Gatimel	....	extras casting

Département Costume et garde-Robe
Dolores Gonzalez	....	costume assistant (as Dolorès Gonzalez)

Dpartement Editorial
Mathilde Fleury	....	assistant editor
Christian Rever	....	color timer
Camille Toubkis	....	assistant editor

Département Musique
Eric Michon	....	music supervisor

Divers
Benjamin Baltimore	....	title designer
Bruno Bimbard	....	groupman
Tina Boillat	....	production administrator: Switzerland
Patrick Morch	....	groupman (as Patrick Morsch)
Carlos Pardo	....	speech coach
Pascal Pillas	....	locksmith
Pupa Riva Forni	....	script supervisor
Robert Franck Sauvineau	....	production administrator: Paris

Merci
Jean-Jacques Aillagon	....	thanks: president of the Pompidou Centre
Frédéric Mitterrand	....	thanks

Companies de production

• Alta Films
• Amka Films Productions
• Lumen Films

Distributeurs

• Alphaville (2004) (Mexico) (theatrical)
• IFC Films (2005) (USA) (theatrical) (subtitled)
• A-Film Distribution
• BIM Distribuzione
• GAGA
• Haut et Court (France)
• Pan Terra (Russia)

Technicien des effets spéciaux

• La Maison
• Éclair Numérique

Autres Companies

• Cinemontage  avid editing
• Ciné Lumières de Paris  electrical equipment
• Cinécool  titles and opticals
• Eclair  film lab
• Panavision Alga  camera equipment
• S.I.S.  adr facilities

Autre(s) titre(s):

Novo (Spain)

MPAA:

Rated R for strong sexuality, graphic nudity and language.

Durée:

98 min

Pays:

Switzerland | France | Spain

Langue:

Espagnol | Français

Couleur:

Couleur

Son:

Dolby Digital

Classification:

Australia:MA | France:U | Italy:VM18 | Singapore:R(A) (cut) | South Korea:18 | Spain:13 | Switzerland:16 (canton of Geneva) | Switzerland:16 (canton of Vaud) | USA:R

Société:

Alta Films

Bande son:

It's Easy To Remember

what you see is what you get

I think this is messy and out of focus. It tries to be too many things, and it fails to successfully achieve any of those.

This wanted to be love story told through a different angle. It wanted to play with memory as a creator of reality, or something able to define a certain reality. It wanted to establish ambiguity over motivations and over who is controlling, who is bending the reality of what we see. It wanted to use sex, and sexually moved characters (above all females) as a cinematic glue to all this I can think of various films for each of the "wannabe" i mentioned that manage to be more successful in their objectives than this one. I don't know one film that does well in mixing all this. And if i come to find one, i don't think it will be made by the authors of this one. At least not for what i saw here.

'Memento' played with the notions and the effects of short term memory, and memory loss much deeper. Here, we find the memory losses as the device to allow our character to become who his puppeteers want him to be. It is what it takes for him to be a puppet, to be unstable, to cast some doubt on who he is, what he wants. Noriega played the equivalent role in 'Abre los ojos', which was much more effective. I think for this purposes, 'Clean Slate' was a much better exploration of this!... Here we have links establish to monitoring our amnesic, the martial arts, the photos sessions, the block notes. But none of that is really used. The ending comes to unfold as a common romantic situation of gathering and decision on which woman the protagonist will elect (which you know who it is miles away from the ending).

So it ends as the love story the film also wanted to be. The 'woman who loves the man accepting him for what he is' plot. It's ordinary, but it is given a new clothing, in order to look new. But if you stop and think, there's absolutely nothing worth mentioning about this story. If you want renewed fresh ways to join a love environment and the creation of alternative realities, try Medem. In 'Los amantes...', in 'Lucia y el sexo', in 'La ardilla roja'. He can do that. By coincidence (or not), here we even have Medem's Lucia (Paz Vega) as the wife of the sick protagonist who, in his moments of memory recovery comes to speak Spanish...

Than we have the attempts to play with the forces controlling what we see. We know almost always as much as the main character. And practically every character (except the boy and the woman who loves the protagonist) have ambiguous intentions (apart from the fact that we take our time to understand where everybody fits, that's a good thing). We are given successions of facts we can't judge correctly. But than we come to understand that the film is moving nowhere, and what we see is what we get. No twist, no revelation, what it seems to be happening is really happening. It's not that we have to be deceived, but there should be some intention behind the idea of casting ambiguity in every corner of the stone. See 'Oldboy', if you want master work working these concepts.

My opinion: 2/5 this is messy, but it has some interesting concepts, if you start imagining where this could go.

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