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Although it has its amusing moments, in eneral the plot does not convince.

This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

Really impressive film that was gripping and well acted. It did drift a little and had slight pacing issues but did not detract from a compelling piece with excellent lead performances. Duris has impressed me an awful lot in his previous performances and commands the screen really well becoming one of the best leading men around. I also found the locations in Montenegro absolutely stunning and filmed in a way that really added to the feel and mood of the film. I was particularly impressed with the way it ended refusing to indulge and become predictable. This is such a rare thing these days and deserves much credit and shows bravery in both the direction and concept that was clearly well thought out. Bravo!

For several years now I've had a problem with French movies. Increasingly if I want to see some Real Actors I have to take male eye candy on the order of Gaspar Ulliel, Vincent Cassell, Benoit Magimal and Roman Duris. So it is here; in order to appreciate Marina Fois in yet another fine performance I have to stomach Duris in the lead and although Catherine Deneuve gets featured billing she has little more than a cameo.Apparently it is based on a novel by one Douglas Kennedy, of whom I've never heard but he has clearly not only heard of but read Patricia Highsmith because this tale of a man who commits murder in the heat of the moment and not only gets away with it but goes on to have a successful lie under an assumed identity is pure Highh smith. Worth seeing for Fois but that's about it.

To live one's life? The title may seem a bit too grand, in between an 18th, or 19th century moral tale crossed with french existentialist uneasiness, but the film lives up to it, turning it obliquely into a canvas of political contemporary matters.To give away what happens is to betray its mood, a mood that spills over into matters that retain and resume their urgency, and are crisply clarified in the last sequences, but I will give away a plot-line: Romain Duris lives an uneasy life, has a chillingly distant wife (she is superb), loves his kids, and arguably does not know, despite his professional panache (guaranteed by the way his home looks like and some dialogue with visitors in his office), what adult life means and how it is signaled about. He then gathers his failing marriage has an antagonist, who, in perfect french manner, does not want to be an antagonist at all, it is just the way life goes, outside how you want to live it, if you are adult and manly enough. An ugly accident happens. He has to change his life.And he does: long, ominous takes that succumb into atmospheric lakes, leaks into the artistry he wanted to pursue and he now does, but with no guarantee. It is only in its aftermath - of his amorous new situation, and how the past reappears - that he meets his destiny.What recapitulates the trajectory is the last sense of political complicity in the perilous open, a new social, humane if fragile contract.This is a film in the best way of European political films that even pave the way to a new leftist sensibility; Romain Duris is a No-man, rather than an Everyman, that has a knack, though this may seem gratuitous, to appear most elegant in his shoes. It is some time an actor had that elegance, and also some sense of contrasted foregrounding with what takes its trail on screen.

I saw this film at the 2010 edition of the Toronto International Film Festival, and it was a pleasant surprise.Great performances, tightly directed, and a very compelling storyline, in addition to a being beautifully shot and using some great Magnum Photos in the film as part of the main character's unexpected shift into a new world and a new life.Based on the American writer Douglas Kennedy's acclaimed book of the same name, but changed to a Euro setting, director Eric Lartigau easily shows how European filmmakers can take the themes of murder, obsession and identity to new artistic heights, while also giving us one of the best thrillers of 2010. It's a thriller as cinematic art as only the Europeans can do.The film might not have gotten as much attention as other films at TIFF 2010, but it definitely should. I truly hope it gets a wider release here in Canada and elsewhere.Seek it out. Decidedly worthwhile.