Swimming Pool Imdb Inhaltsverzeichnis
Directed by Esther Zimmering. With Majeed Akarah, Michelle Akarah, Alon Gildin, Michal Gildin. After World War II, the members of a Jewish scatter away from. It looks like we don't have any Awards for this title yet. Be the first to contribute! For guidance, please visit the Awards submission guide. Swimming Pool - Der Tod feiert mit (). Linda Rybová in Swimming Pool - Der Tod feiert mit (). Elena Uhlig in Swimming Pool - Der Tod feiert mit ().
Maximilian Grill and Kristen Miller in Swimming Pool - Der Tod feiert mit (). Directed by Esther Zimmering. With Majeed Akarah, Michelle Akarah, Alon Gildin, Michal Gildin. After World War II, the members of a Jewish scatter away from. James McAvoy in Swimming Pool - Der Tod feiert mit ().
Swimming Pool Imdb - Der neue Film des Regisseurs von HUIT FEMMESLearn more More Like This. Ritchi David Nolden Stars: Ruby O.
I'm sure that the director was having a lot of fun, overlaying his straightforward detective yarn with a smorgasbord of Jungian symbols and female identity issues.
Great, great acting. Charlotte Rampling--just magnificent. My god, what a beautiful woman and what an expressive face. And Luduvine--she is great too.
I saw her in "Hot Drops on Burning Rocks" where she looked like a year old with silicone implants a disquieting image. Now she is growing into her sensuality and becoming a truly remarkable actress who can can go from hardened cynicism to poignant vulnerability in the shrug of an eyebrow.
I would recommend this film to anyone who loves foreign films. TxMike 7 December Clever movie that does not reveal itself until at least 15 or 20 minutes after it is over.
She asked us to see it, and explain it to her. Charlotte Rampling plays the central character of Sarah Morton, a writer who seeks new inspiration at her publisher's vacation home in the south of France.
All is well and quiet until Julie pretty and nubile Ludivine Sagnier shows up, claiming to be the daughter that Sarah's publisher failed to mention.
Sarah and Julie are like fire and ice, oil and water, acid and caustic. Everything that Julie is, carefree, bold, and over sexed, Sarah isn't.
Then, what we see developing is Sarah using Julie as the inspiration for her writing. Sarah begins to encourage Julie. And Julie provides much inspiration!
This isn't a movie for those put off by nudity or the French habits of liberal sleeping around. But for those who like a clever and absorbing story, that will tingle your brain cells when it is over, having you asking "What exactly happened?
Things turn sinister when Julie is putting off the night time poolside advances of one of the men she brought home, and ends up murdering him.
Instead of admonishing Julie, Sarah helps her dispose of the body. The next day, when the village-dwelling gardener shows up, threatening to discover the deed, Sarah offers misdirection by stripping and inviting the old gentleman to her room for sex.
As the movie ends in London, Sarah shows her publisher John the manuscript for 'Swimming Pool', which he doesn't like.
Then she gives him a copy of the published book, telling him he knew he wouldn't like it, because it was a parody of him, and had someone else publish it.
Update: Saw it again January and it is a great movie to re-watch. Makers of erotic thrillers need to be careful, as that is a genre that, if not handled carefully, can quickly fall prey to silliness and excess think "Fatal Attraction".
Also, both films have a middle-aged female as the protagonist who becomes involved in covering up for the actions of a child in "The Deep End" a literal child, in "Swimming Pool" a figurative one.
Also, both films are completely unpredictable. Neither goes the direction in which the viewer thinks it's going to. However, "Swimming Pool" is much more abstract, and its ending leaves you wanting to watch the whole thing over immediately with an entirely different perspective on the action.
This gimmick always makes for a memorable ending in movies that employ it, but too often it makes the rest of the movie seem somewhat pale in comparison, and this is the case here.
It's a leisurely paced film, and you'll need to have patience with it. You'll also need to have patience with the main character, played by Charlotte Rampling.
Rampling gives a fine performance, but her character is really unlikable intentionally so , and it's always a liability for any story that focuses almost solely on one person to make that person unlikable, or at least sympathetic.
It's an interesting idea, imperfectly executed. Grade: B. EighthSense 17 October The Sara Morton character is sick and tired of writing her stock-in-trade serial books, and wishes for inspiration for something NEW.
She says so to her publisher, who wants to keep her writing them, and offers her a stay at his French villa for a rest and change of scenery.
Sara goes to the villa. We then see several scenes of just how much she enjoys the solitude, the sun, the quiet, the food. She breathes in deeply that fresh air, so different from the London cloudy skies, nameless crowds in the subways etc.
And, so, inspiration to write something a bit different does come: She starts writing another book, combining bits and pieces of given facts and given characters: The daughter that her publisher mentioned, appears in her manuscript as "Julie".
All her attributes and behavior come from Sara's inspiration-"Julie" never actually comes to the villa. The rest is just how the book develops-and since she is an experienced writer of murder mysteries, a murder is written in too.
She finishes the book, gets it published by a new publisher, takes it to her old publisher as an "I'll show you!
That is the real-life daughter. One scene that is quite telling of where reality stops and her inspiration starts is that of Franck-the local waiter, cleaning leaves from the pool with the net, wearing a tiny bathing suit, before he stands over the sunbathing, sleeping "Julie".
The camera goes slowly over his body and his obvious arousal, in close-up-not the way he could be seen from where Sara was standing, looking out at the pool.
Well, the waiter is initially shown briefly serving Sara a drink in the village, and that's all he does. He doesn't work at the villa cleaning the pool-that is old Marcel's job.
There is no other explanation about Franck suddenly being at the villa cleaning the pool, other than "that's how Sara wove the local waiter into her book".
Ozon lets us see his characters directly; and then through the mind of Charlotte Rampling's as author character. Two strands apply - the direct-to-Ozon's mind, and the indirect, via Rampling.
And there the fun begins. We glimpse a gawky, immature, teeth-in-bands teenager blonde towards the end of the movie - Morton the publisher's daughter.
But who has this blonde Ludivine Sagnier - who has she been? Well now, let me see We 'accept' an idea of the incumbent blonde in all probability as that spoken of daughter.
But she seems like a year-old going on 35!!! She has an amazing amount of baggage for such a seemingly young girl.
And she gets into such torrid, bizarre, and ghastly gargantuan fixes - all seem too improbable.
The mix-and-match mode - as strand crosses strand, weaving a rich texture of reality versus illusion, fiction versus fact, and dream versus daylight - the enjoyment being in the management in each viewer's mind of the strands, understanding when the author's fiction is being played-out across the screen; and when we are back again inside the movie-director's mind as opposed to one of his character's i.
The local people encountered in the Luberon quickly become assimilated into Rampling's novel - their more outmodish acts being inventions of the novelist's mind but being re-played inside an Ozon movie.
And characters we might think are kith and kin of the 'real' people we encounter, are in fact nothing but kin to the fine imaginings of the typing hand.
Ludivine Sagnier being the case in point - and she a cruel joke against Morton's dismissive inattentions towards our writerly heroine.
The gawky, tooth-banded teenager has, in all likelihood, been in Provence all along - and in the projection of the novelist's mind - fashioned into a femme-fatale that makes the LuDIVINE we see on our screens, and as the central protagonist of the Rampling novel, were it at hand to be read!
This film owes a great deal of gratitude to the second collaboration between Francois Ozon and his leading lady, Charlotte Rampling.
They ought to team up more. As with the previous film, Under the Sand, this is an enigmatic piece of cinema. This film, I believe, has more to do with Sarah Morton's imagination than with the actual story presented to us.
There are so many hidden clues within the story that everyone will have a different take in what is presented in the film and what the actual reality is.
Francois Ozon is not a boring director. He will always present an interesting story, fully developed, with many twists to get his viewer into going in different directions trying to interpret it all.
Charlotte Rampling is magnificent as Sarah Morton, the repressed author of mystery novels. Ludivine Sagnier is very good as the mysterious Julie, the alleged daughter of Sarah's publisher, but now, is she really that person?
The ending will baffle the viewer. This is a film that will stay and haunt one's mind for days. Well, if that's what you want in a movie, you might agree.
But it lowered my expectations, nearly to the point of not watching it. In the end, Sagnier's character is mostly coy and bratty, and her nudity, in France around her own very private swimming pool, shouldn't really be an issue-- except maybe for the viewer.
For me, there was sometimes a mismatch in my head between watching the actress and watching the character, and if this is a flaw in some movies, here, in some basic way, it ties into the intention.
This is an odd starting point, for sure, but it is Sagnier's brazen outwardness that makes the more complex role played by Charlotte Rampling take on interest.
How else to portray the theme of a woman who uses her body and her confidence to seduce the other characters in front of an older woman who wishes she could do the same?
Swimming Pool really isn't about sex, but it absolutely is about the appearances that lead to sex--of being sexy, to put it a little stupidly--and Rampling increasingly takes on the role of viewer within her own character, and she ends up as perplexed as we do.
All to good effect. The minimal plot is about the failure by a successful novelist to see alluring from allusion, fact from fantasy.
It's about storytelling, fiction, and ultimately fear of failure. The reconstruction of the past becomes the inner confusion in the mind of the main character, a charming and effective Rampling playing a novelist who was once, by all the hints, the very seductress suggested by the younger woman.
This is certainly a film worth watching. For some it will seem willfully confusing to the point of manipulation--the viewer is fooled and taken for a ride, and it feels confusing for the sake of confusion.
For others it will seem endlessly mysterious and clever, even if requiring a kind of blindness to certain narrative conflicts which may or may not be logically resolved by the end--I watched parts a second time to check.
Right from the start there is an ingenious mismatch of facts that you start to brush off, and when things develop in ways I don't dare suggest for fear of ruining it, these clues grow in meaning.
It will certainly be great for discussion, heated or not, and that's a sign for me of a good experience, though not necessarily a superior movie.
It is notable how economical the filming is--the setting is limited, the characters few, the range of situations reasonable and not requiring trickery or effects.
And it comes down to Rampling, above all, holding the psychology together. It shows how little you need to take a good plot idea and flesh it out, sexist voyeurism or not.
First of all: I like this type of film very much! I was surprised by many comments that talk about a 'foreign film'. As if films from other countries than the USA should have to prove themselves extra No way!
On the contrary! Living in Europe, this isn't a foreign film for me! I was brought up in the sixties, and enjoyed the film-noir genre, the character movies, the French and Italian philosophical movies, the black-and-white films, the films made by the actors, the director and the plot together.
So, Swimming Pool is a film that makes me sit on the point of my chair for more than 1 hour and a half. The interference with Sarah and Julie is ambiguous.
The continuing layer of lesbian love lays upon their relation, no matter what they do to each other in the beginning of the story.
It's a kind of hidden suspense Ludivine who plays Julie is a beautiful, well shaped young girl, with a marvelous body, but even Charlotte Rampling is outspoken and gave herself to the film and to the director, Francois Ozon.
A great movie. Just absorb what you see AnthonyMeg 25 March You can see at the end that it is actually the one person who is seeing herself in two roles while she is in France - one as a nymphomaniac, fun-loving, rebellious girl that she has lost and the other, stronger personality of a frustrated, rejected, bitter woman.
I think the symbolism of the murdered man is killing the man that likes the stronger personality, but cannot resist the temptation of a younger girl - just like her editor lover who cannot leave his wife but will indulge in side affairs.
Killing him is getting rid of him from her life and allowing her to move on - which she does at the end when she moves to a new publisher.
The daughter allowing her to write the mother's book is her giving herself permission to write about her own pain and rejection.
This all comes together at the end when you meet the real daughter - the symbolism still keeps me thinking of each scene and what it actually meant.
I first saw this film on HBO in and now own it. HBO and others continue to run it. It is a very mature, engrossing film with a metaphorical plot.
From the opening credits it immediately begs for your attention and once it has you in its grasp, you will find you cannot escape.
A successful author of a series of mystery novels but bored with her work, Charlotte Rampling goes to the south of France for looking for fresh ideas for a new book, begins down one avenue and then changes direction.
The location, photography and performances are exceptional as is the set design, replete with elegant simplicity that flows past your eyes.
You are drawn in so well you can taste the wine and feel the pool's water flowing around you. The actors, especially Rampling and the actress who plays Julie, are impeccable.
The Swimming Pool is a totally wonderful experience. Dive in! Rocketansky 6 January If you've had enough gasoline explosions, car chases, and bang-yer-head obvious plots, here is something Completely Different.
I'm assuming you've seen the movie so if you haven't, please read no further. Anyone who has written a fiction book all the way through I've finished several will recognize the writing process as embodied masterfully in this film.
That is, being inspired by the oddest and most nondescript objects. Or writing entire chapters and realizing they're crap and don't fit in.
Or just the opposite: finishing your story and realizing at the "end" you forgot something critical and need to go rewrite part of it AND the tremendous satisfaction when you realize you've created something that a was inside you that just had to come out and b is the best work you can do and c others will enjoy reading.
This film is complex enough that there are undoubtedly many interpretations possible. The one I find personally fulfilling, and that fits perfectly with the final twist, is a wonderfully-executed attempt to bring the abstract, weird, and sometimes outright bizarre process of fiction writing to the screen.
I've only seen the movie once, but I can't remember a single scene without Sarah in it. This film was about her exclusively, from her POV, about what was going on in her mind There were other characters, but with very few exceptions they existed as HER characters, walking the stage she created.
A simple example. As often happens during the writing process, his importance changes. In fact, it was the pool scene with him standing over Julie that first convinced me I was watching a depiction of the writing process.
You see, the concept of Franck becoming involved with Julie was a plot possibility, a concept, an idea that became stillborn.
And so on. To those who thought this movie was one strange and convoluted puppy, I'll say that fiction writing is one strange and convoluted process!
It's captured as well as I can imagine in this effort. A previous reviewer perfectly interpreted the smile on Sarah's face in the last scene at John's office -- one of an author's satisfaction and pride on a job well done.
At the very end, Sarah waves to her two creations, not goodbye, but in thanks. Authors are always grateful to their characters wherever they may come from, since without them there can be no story.
I do not agree with the majority that the filmmaker intended the protagonist's stay at the house to be a creative hallucination.
I think that there are enough narrative details to work out the whole thing. In other words, the publisher raped his daughter Julie, and the child they had is Julia.
I took the point of the final sequence to be the writer's noting the similarity between mother and child. Julie displays classic symptoms of having been sexually abused as a child by her father.
First, she is a nymphomaniac with a penchant for older men she is repeating the traumatic event. Second, she experiences a complete fugue when she hysterically identifies the protagonist as her mother and fears that she had abandoned her the way her real mother abandoned her and allowed her to be raped by her father.
Third, Julie makes numerous references to the sexually predatory nature of her father: "He's the king of the orgies"; "you're his latest conquest"; and her introducing one of her older lovers to Marcel as "her father.
Further bits of narrative emerge when, at their dinner, Julie tells the writer that her first sexual experience was at I think this experience was her rape by the publisher.
It's not stated how old Julie is, but, assuming she's in her mid-twenties, the girl Julia at the end could certainly be her daughter if she had her at I think that Marcel's daughter's stating nervously that Julie's mother's death was an "accident" suggests that, distraught over the publisher's rape of her daughter, she killed herself.
The large stomach scar is the Cesarean section by which the incestuous child Julia was born. The novel that the protagonist writes is the story of this incestuous rape.
The detective writer has found her biggest mystery yet -- a family mystery, and her publisher is the villain. This is why he tries to undermine her confidence about the book and suggests that it shouldn't be published.
If it were, then the story of his incestuous villainy would be known. The way the protagonist smiles so warmly at Julia when she sees her at the office is meant to display her warmly realizing how she resembles her mother Julie in some ways although much younger and not yet sexualized.
And the final scene of the waving is meant to further identify the mother with her child. In this way, the movie employs the same family secret as "Chinatown.
I first saw the trailer for this film at Fredddy vs. Jason back in '03 and me and my friend were in hysterics at how lame it looked.
He recently bought me the film on DVD as a 'joke' birthday present but ironically now sits proudly on my DVD shelf as one of my favourite films.
Although very slow moving it is beautifully shot and the soundtrack is fantastic. The characters are brilliant and the acting is flawless.
It gets more complex in the second half and is quite difficult to understand the twists in the plot. It draws you in right from the very start and doesn't let you go until the end.
In London, the successful and weird middle-age writer of police and mystery novels Sarah Morton Charlotte Rampling is passing through a phase of lack of inspiration.
Her publisher John Bosload Charles Dance invites her to spend some summertime days in his house in a small town in France, where there is inclusive a swimming pool.
He also suggests her to make the experience of writing about a different theme. Sarah accepts the invitation and travels to the wonderful and lonely place.
A few days later, she starts writing again, but her quiet rest is shaken with the unexpected arrival of Julie Ludivine Sagnier , the sexy daughter of John.
From that moment on, reality and dream blends in Sarah's world. I did not dislike this movie, but I believe it is indeed an excellent idea, wasted in a very disappointing conclusion.
There are many unexplained subplots and the story is completely open to the most different interpretations, and of course I have mine.
Europeans usually like this type of story, but in this situation, the film does not give necessary hints about the real intention of the plot, and the viewer can speculate only.
Charlotte Rampling has a magnificent interpretation, Ludivine Sagnier has a very erotic performance, but to become an excellent film, many clarifications are missing.
My vote is seven. Sherazade 6 March Okay, I hate to give so much away but after watching the film, there's no other way to review in a way that it would make sense to the people reading the review other than to tell it like it is.
Nothing is real except for Charlotte Rampling's character and her publisher. The daughter character is also real but you don't see the real person until the end of the film.
When Charlotte goes on the vacation to the French countryside to clear her head, she actually enters into the world of the characters she is about to write about in her new book.
That said, this was a very bold film. The soft porn elements were very strong but the acting on the part of Charlotte Rampling was stronger.
She is a great actress of her generation and should be celebrated for such a powerful performance.
I applaud her for her nude scenes and her honest portrayal of a character we see too less of in Hollywood, the sexy older woman who is not threatened by us young-ins!
The film is about imagination and how the author uses it to solve her real life issues. My favourite line from the film is when Charlotte says: "Hmph!
Don't know why some of my literate friends who are reputed movie aficionados thoroughly trash this most entertaining movie.
I for one, however, very much enjoyed Messr. Ozon's subtle, twisting and metaphorical story-telling. I shall not even attempt to rehash what scores of erudite reviewers have already delineated regarding the unfolding of the plot line.
Was young Julie merely a "Sarah alter ego", a fictitious character that she fantasized as herself if she had the guts?
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Crazy Credits. Alternate Versions. Rate This. A British mystery author visits her publisher's home in the South of France, where her interaction with his unusual daughter sets off some touchy dynamics.
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Use the HTML below. You must be a registered user to use the IMDb rating plugin. User Polls Crime Flicks from the U. Edit Cast Cast overview, first billed only: Charlotte Rampling Sarah Morton Ludivine Sagnier Julie Charles Dance John Bosload Jean-Marie Lamour Franck Marc Fayolle Marcel's Daughter Michel Fau First Man Jean-Claude Lecas Second Man Emilie Gavois-Kahn Old Man Lauren Farrow Julia Sebastian Harcombe Terry Long Frances Cuka Lady on the Underground Keith Yeates Sarah's Father Tricia Aileen Learn more More Like This.
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