Toute une nuit

NOTE IMDb

MA NOTE

Observant plus de deux douzaines de personnes différentes dans l'atmosphère presque sans paroles d'une nuit sombre dans une ville bruxelloise, Akerman examine l'acceptation et le rejet dans ... Tout lireObservant plus de deux douzaines de personnes différentes dans l'atmosphère presque sans paroles d'une nuit sombre dans une ville bruxelloise, Akerman examine l'acceptation et le rejet dans le domaine de la romance.Observant plus de deux douzaines de personnes différentes dans l'atmosphère presque sans paroles d'une nuit sombre dans une ville bruxelloise, Akerman examine l'acceptation et le rejet dans le domaine de la romance.

Voir les informations de production sur IMDbPro

NOTE IMDb

6,8/10

1,2 k

MA NOTE

Voir les informations de production sur IMDbPro

Récompenses
- 2 nominations au total

Anecdotes
Near the beginning, when the woman takes a taxi, "No to fascism" in Turkish can be seen on a wall. In the scenes before, we hear orientalic music and see a group of Turkish-looking extras in the street. Since the film is set in Brussels, Belgium, this seems odd, but it represented accurately the growing Turkish and Muslim population in the capital city at that time.

Bandes originales
Ma révérence
Written, Composed and Performed by Véronique Sanson
Courtesy of Piano Blanc

Avis des utilisateurs10

Commentaire à la une

8/10

Good Chantal Akerman, but not great Chantal Akerman!

Toute une nuit (1982) ("All Night Long") was written and directed by Chantal Akerman. Akerman is one of my favorite directors, but she's not at her best in this film.

The basic plot is a series of pairings that take place during a warm night in Brussels. Some of the characters live in the same building, but I don't think any couple interacts with any other couple in the movie.

The film is dark, and the couples are not highly attractive. I have to admit that the action didn't fly by--it was a long 80 minutes.

On the other hand, Akerman has the courage to stay with a scene when other directors would cut away. Better still, she often continues the scene when the principal actors have left the frame. It's only then that the viewer discovers the characters that have been literally and figuratively in the background. Their stories might be as interesting as the stories we are following. Maybe they'll be in Akerman's next film. Maybe she's already made that film, and I just don't know it.