'Eye on Juliet': Film Review | Venice 2017 The fact Vincent, for example, has some big news of his own to share is gradually lost in the fray and isn’t otherwise explicitly addressed, though hawk-eyed viewers will be able to fill in the blanks as the film progresses. The sequence is impressively written and beautifully observed.
She’s called him to share some big news but, like a set of inverted Russian dolls, each piece of big news leads to an even bigger revelation. The second sustained sequence consists of a very long and increasingly agitated phone call between the pregnant Melanie (Alice de Lenquesaing) and her father, Vincent (Eric Elmosnino). With just a few quick brushstrokes, Bourdos and Spinosa manage to reveal the first cracks in their relationship and suggest what kind of unhappy things might lie in their future, much to the chagrin of Josephine’s worried but constantly fighting parents (Gregory Gadebois, Suzanne Clement). At the hotel, instead of newlywed exhaustion or sex, or an awkward combination of the two, Tomas suggests they play a guessing game instead. First up is the wedding night of spunky blonde Josephine (Alice Isaaz) and her lean, tattooed hubby, Tomas (Vincent Rottiers), who check into the bridal suite of a hotel after a wild ride through the night on the back of Tomas’ pickup, filmed by cinematographer Mark Lee Ping Bing with a lot of energy and verve. Bourdos, whose lavish painter biopic Renoir made over $2.2 million for Samuel Goldwyn stateside in 2013, co-wrote the adaptation with his regular collaborator, Michel Spinosa, and the most interesting structural decision they’ve made is to open with two impressively prolonged sequences that introduce the first two stories.
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