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best movie i've ever seen.

This movie was so-so. It had it's moments, but wasn't the greatest.

It is neither dumb nor smart enough to be fun, and spends way too much time with its boring human characters.

A woman is released into the custody of her sister after spending thirteen years in prison for the murder of her son. That's the premise of this movie, but what Claudel has built on it is a story of love and redemption. I won't give details that might spoil the story for you. Thomas does an astonishing job, her acting is a tour de force of understatement that reveals a character and her history until we feel totally engaged in her grief and (finally) her glimmers of hope. The supporting actors are brought along by that performance, so that we believe in their characters' increasing self-knowledge and changes in attitude. The movie demonstrates that the most gripping drama unfolds within a person. But I know that many people will think it's too slow and that nothing happens. Highly recommended. ****

Kristin Scott-Thomas OBE is a British born and raised actress who is also fluent in French and lives in France with her family does an amazing performance as a paroled criminal. She plays Juliette with an understatement. She doesn't ham it up or overdue it. Her performance is subtle yet mesmerizing to the viewer here. She comes across as a native French speaker without a hint of English. In this film, Juliette is reunited with her estranged sister, a college professor in Nancy, France. Her sister lives with her husband, Luc, his father, and two adopted Vietnamese daughters. When Juliette starts her life in Nancy, she doesn't talk about the crime, an unspeakable act. There are reasons and motives to justify her actions which are explained in the conclusion which wasn't unpredictable. Juliette has been estranged from her mother and family for fifteen years. Many of her sisters' friends were unaware of her existence. The sisters with Elsa Zylberstein look, act and feel like sisters to the audience. It's a heartbreaking film overall.

Il y a longtemps que je t'aime. Juliette leaves prison after 15 years: received at the airport by her sister Lea, for a time as guest with her colors-of-Benetton-family. Slowly we learn what happened: a gesture, a look, a word here, a sentence there. But only in the last movie minute we are told what happened, a help to die. Who decides this gesture of termination: the Greek cliff of Tarpeia, the vikings look at the newborn, Martin Luther, Adolf Hitler or todays brain scanning of the unborn: "Rich prospective parents can already afford to have their unborn child's brain scanned for traces of possible future mental weakness"; S Zizeks 2010-345. A few people in the movie seem to 'understand' Juliette. But do not. One example is her probation officer, a victim of committed suicide. Does he sense her real reason of the murder, not told the why? The reason lies under Juliette's pillow: by chance of hurry falling onto the floor and picked up by the younger of the two adopted children: like this Lea gets to know the happened truth. Also the man of respect, Michel, does he really know, having teached prisoners, 'how it is': does he? Does grandfather Papy Paul, lost his speech of power: has silence a possibility of understanding? The most honest is the man, willing to give her the first work. But: "Get out of here", when she answers: "I killed my child". At the cheerful dinner party she is asked where she had been all the years: "In prison", responded with hysterical laughter of social sadism. As we do not know the truth until the last moment, we share Lucs, the fathers fear: will Juliette commit a second murder, one of the girls? The explaining end is for the sister and us an explanation but no answer. Has she permission and who gave her the permission to ease her and her sons pain with the help of death. In Juliettes case her son could not ask. Juliette: "The worst prison is the death of one's child. You never get out of it" She did not defend herself at the trial: sentenced for the 15 years. The German discussion after the hadamartime of 1945, when (again) was proposed this time for a 'begrenzte' Euthanasie (W Catel Nuernberg 1962) is a journey between Scylla and Charybdis. At its core it is an individual question of the voice of conscience. Wallis Simpsons grandmother advised: "Concience is like a mirror you must look into it at least once a day", quoted in the Edward Morrow 1965 television interview. As long we are able to contact this organ that helps not only to know but to know that we know. What has to change basically is our attitude (a good example of change on its way is Peace Corps. They search and practice at the core of themselves to renew the basic of humanity – beyond where they mirror themselves in those who are everything else but able, outcasts). But as long disability is a case of pity and false goodness and not a mirror for development for each other – the pity of the Juliettes never can be true interest. In gratitude Karl König 1902-166, a fighting for runner against the 'soft' death. Il y a longtemps que je t'aime.

Philippe Claudel's literary character portrait premiered at the Berlinale in 2008 and tells the story of Juliette, a middle-aged woman who tries to find her place in society and reestablish contact with her family after having spent fifteen years in prison. Juliette arrives in Lorraine, France where she is reunited with her sister who is now married and has two daughters. Léa invites her to live with her family on temporary basis even though her husband feels uneasy by her sister's sudden arrival.French writer and director Philippe Claudel's concise psychological drama about a woman's mysterious past and challenging present, is an audacious and instantly engaging directorial debut, a substantial study of character and a distinct female portrait which examines themes such as trust, family relations, interpersonal relations, forgiveness, longing, loneliness, and grief in a clear and insightful way. The editing that occurs sporadic between the long takes creates rhythm and the instrumental theme song emphasizes the films essential atmosphere.The cinematography is a versatile variation of Kristin Scott Thomas portraits and with his acute filming, Philippe Claudel reveals the wide range of expressions in her face. In the role as the impenetrable Juliette, Kristin Scott Thomas delivers one of 2009s most memorable acting performances. The almost incomprehensible way she controls and balances the protagonist's emotional complexity, creates a level of intensity that no technical effects could have replaced and that becomes crucial to the films continuity. The dialog is sharp, French actress Elsa Zylberstein's supporting acting performance and the subtle realism in this universal independent film is notable.