De rouille et d’os (Jacques Audiard, 2012) Marion Cotillard, Matthias Schoenaerts
This has one person in it who is physically handicapped. This allows it to make the point that everyone is handicapped in some way. It does this in a naturalistic style, which is a nice change from all the comic-book films around. Everyone in Rust and Bone who is not involuntarily disabled sets about either disabling either themself or else everyone they come into contact with. Or both.
It was very brave of that Marion Cotillard to have her legs cut off just for a role in a film.
Cate Blanchett:
A cinematic miracle has taken place in Rust and Bone. Not only has such a rare and high stakes situation been rendered plausible but electrifying. That this bizarre set of circumstances has resulted in a film of such revelatory emotional depth is surely because the soul-searching buoyancy of Marion Cotillard has collided with the unhinged Matthias Schoenaerts. Variety.
Todd McCarthy:
With overt histrionics having been largely bridled by the director, Cotillard and Schoenaerts give heavily internalized performances marked by sporadic physical outbursts involving athletics and sex. Cotillard’s loveliest moments come late, as, emboldened by the beginnings of a physical and emotional reawakening, she wordlessly expresses Stephanie’s growing awareness of a potentially positive future for herself. For Ali, it takes a major trauma to penetrate his thick skull and turn his attitude around. Hollywood Reporter.
Peter Bradshaw:
its candour and force are matched by the commitment and intelligence of its two leading players. These factors, linked with the glowing sunlit images captured by cinematographer Stéphane Fontaine and emotion-grabbing music from Alexandre Desplat make for a powerful spectacle. It is a passionate and moving love story which surges out of the screen like a flood tide. Guardian.
Garry Gillard | reviews | New: 1 March, 2017 | Now: 1 December, 2022