After nearly fifteen years, Mia Hansen-Løve’s feature debut All is Forgiven finally has its theatrical release in the U.S. A tender yet heart-wrenching drama about the reconciliation between an estranged father and his daughter, it’s evidence Hansen-Løve has always been a mature filmmaker. The story, as in her other films, concerns the passage of time, and particularly here it invites us to ponder if forgiveness can be achieved as time passes.
Opening in Vienna circa 1995, All is Forgiven centers on struggling writer Victor (Paul Blain) and his French-Austrian family—partner Annette (Marie-Christine Friedrich) and 6-year-old daughter Pamela (Victoire Rousseau). Victor initially seems a normal, caring father and husband whose love for both Annette and Pamela rings sincere. Yet it doesn’t take long until we see that there’s another side of Victor: he’s a drug user who gets abusive towards his wife anytime she calls him out.
Opening in Vienna circa 1995, All is Forgiven centers on struggling writer Victor (Paul Blain) and his French-Austrian family—partner Annette (Marie-Christine Friedrich) and 6-year-old daughter Pamela (Victoire Rousseau). Victor initially seems a normal, caring father and husband whose love for both Annette and Pamela rings sincere. Yet it doesn’t take long until we see that there’s another side of Victor: he’s a drug user who gets abusive towards his wife anytime she calls him out.
- 11/5/2021
- by Reyzando Nawara
- The Film Stage
Little surprise that one of this century’s great debuts came from Mia Hansen-Løve; stranger that fifteen-or-so years and an exceptional oeuvre would transpire before U.S. audiences could (legally) see it themselves. But Metrograph Pictures are picking up the mantle in a major way, giving 2007’s All is Forgiven a theatrical and digital release that starts this Friday.
Now we have a trailer—one that looks a hell of a lot finer than the file that’s been sitting on my hard drive since 2014, moreover one that instantly reminds me why I’ve held All is Forgiven in such esteem for so long. A good moment to note that, in our recent interview, Hansen-Løve promised her next feature “is like going back to” this new classic. We’re just glad it’s ready for discovery on its own terms.
Find preview and poster below:
Mia Hansen-Løve was only twenty-five...
Now we have a trailer—one that looks a hell of a lot finer than the file that’s been sitting on my hard drive since 2014, moreover one that instantly reminds me why I’ve held All is Forgiven in such esteem for so long. A good moment to note that, in our recent interview, Hansen-Løve promised her next feature “is like going back to” this new classic. We’re just glad it’s ready for discovery on its own terms.
Find preview and poster below:
Mia Hansen-Løve was only twenty-five...
- 11/2/2021
- by Leonard Pearce
- The Film Stage
Close-Up is a feature that spotlights films now playing on Mubi. Mia Hansen-Løve's All Is Forgiven (2007) is showing on Mubi starting January 7, 2021 in most countries in the series First Films First.A modest story told with fierce intelligence and freedom, All Is Forgiven (2007), written and directed by Mia Hansen-Løve at the age of 25, signaled the style and strength of a new and most brilliant filmmaker. Not complying with the familiar-looking (French) family drama’s conventions, the film is an achievement in integrity, a first expression of an original filmmaking philosophy that will be refined and reappear again and again in Hansen-Løve’s next five features. In every way, Hansen-Løve’s first feature fits easily within this writer-director’s filmography. Sensitively approaching themes of death, suicide, vocation and melancholy, like Hansen-Løve’s subsequent portraits, character studies and coming-of-age films, All Is Forgiven is styled simply—without much adornment or exposition—and structured unusually,...
- 1/7/2021
- MUBI
Tout est pardonné (eng: All is Forgiven)
Directed by Mia Hansen-Løve
Written by Mia Hansen-Løve
France, 2007
Watching with a critical eye, one will find Mia Hansen-Løve’s debut feature, Tout est pardonné, curiously out of focus; as in, it strongly lacks any. Although well-meaning and decorous, Tout est pardonné has too many points of interest that dull the overall impact of the film, making it less affecting than it should’ve been.
The story opens up in Vienna where Victor (Paul Blain), a shiftless French writer, is married to Annette (Marie-Christine Friedrich), his Austrian wife. Together, they have a six-year-old daughter named Pamela (Victoire Rousseau).
Unable to really communicate with either of them, especially Annette, Victor turns to drugs and is slowly consumed with an addiction, and at first, this seems to be the film’s raison d’être. We’re supposed to witness the spiraling effects of his drug...
Directed by Mia Hansen-Løve
Written by Mia Hansen-Løve
France, 2007
Watching with a critical eye, one will find Mia Hansen-Løve’s debut feature, Tout est pardonné, curiously out of focus; as in, it strongly lacks any. Although well-meaning and decorous, Tout est pardonné has too many points of interest that dull the overall impact of the film, making it less affecting than it should’ve been.
The story opens up in Vienna where Victor (Paul Blain), a shiftless French writer, is married to Annette (Marie-Christine Friedrich), his Austrian wife. Together, they have a six-year-old daughter named Pamela (Victoire Rousseau).
Unable to really communicate with either of them, especially Annette, Victor turns to drugs and is slowly consumed with an addiction, and at first, this seems to be the film’s raison d’être. We’re supposed to witness the spiraling effects of his drug...
- 8/17/2012
- by Justin Li
- SoundOnSight
San Francisco International Film Festival
SAN FRANCISCO --Writer/director Mia Hansen-Love's first feature, "All is Forgiven", a keenly observed study in intimacy that has the rhythm and feel of real life, announces the arrival of an intriguing sensibility. Technically accomplished and finely acted without artifice by a talented ensemble cast, it's an astutely written, mature work in its content, understated, naturalistic style and sensitive rendering of complex emotion.
A sudden, inconclusive ending that comes out of left field will leave some unsatisfied. Plus an ostensibly depressing subject, the disintegration of a family, could limit its Art House potential in the U.S. This slice of life picture, punctuated by poetry and cultural discourse, may fare better in European markets and on the festival circuit.
Playing Victor, a feckless aspiring poet coasting through life on little more than boyish good looks and charm, actor Paul Blain reveals the fault lines underneath his character's amiable, sometimes volatile demeanor. When Victor descends into the drug addiction, which inevitably destroys his relationship with his exasperated Austrian wife, Annette (Marie-Christine Friedrich), and his young daughter, Pamela (Victoire Rousseau), it seems like a natural progression. Unfolding with minimal exposition, the story, set in Vienna and Paris, picks up 11 years later with Pamela (Constance Rousseau, Victoire's older sister), now a young woman, warily reuniting with her father after a long estrangement. The reading aloud of letters between them, a conceit that could bring the film to a halt, is handled with finesse. Rousseau, a shimmering, delicate beauty, brings a combination of tentativeness and resolve to Pamela, a product of a fractious home embarking on her own life. Production designers Sophie Reynaud and Thierry Poulet get the telling accoutrements just right, from the rambling chaos of the bourgeois family residence to a struggling couple's suffocating apartment. Pascal Auffray's luminous cinematography, shot through with painterly light, brings to mind the pastoral idylls and muted urban landscapes of the Impressionists.
Wistful folk songs underscore the sorrow of missed connections, a condition that plagues Hansen-Love's intelligent, wounded characters.
Production Company: Les Films Pelleas. Cast: Paul Blain, Marie-Christine Friedrich, Victoire Rousseau, Constance Rousseau, Carole Franck, Olivia Ross. Director: Mia Hansen-Love. Screenwriters: Mia Hansen-Love. Executive Producers: not listed. Producer: David Thion. Director of Photography: Pascal Auffray. Production Designer: Sophie Reynaud, Thierry Poulet. Music: not listed. Costume Designer: Eleonore O'Byrne, Sophie Lifshitz. Editor: Marion Monnier. Sales Agent: Pyramide International. No rating, 100 minutes.
SAN FRANCISCO --Writer/director Mia Hansen-Love's first feature, "All is Forgiven", a keenly observed study in intimacy that has the rhythm and feel of real life, announces the arrival of an intriguing sensibility. Technically accomplished and finely acted without artifice by a talented ensemble cast, it's an astutely written, mature work in its content, understated, naturalistic style and sensitive rendering of complex emotion.
A sudden, inconclusive ending that comes out of left field will leave some unsatisfied. Plus an ostensibly depressing subject, the disintegration of a family, could limit its Art House potential in the U.S. This slice of life picture, punctuated by poetry and cultural discourse, may fare better in European markets and on the festival circuit.
Playing Victor, a feckless aspiring poet coasting through life on little more than boyish good looks and charm, actor Paul Blain reveals the fault lines underneath his character's amiable, sometimes volatile demeanor. When Victor descends into the drug addiction, which inevitably destroys his relationship with his exasperated Austrian wife, Annette (Marie-Christine Friedrich), and his young daughter, Pamela (Victoire Rousseau), it seems like a natural progression. Unfolding with minimal exposition, the story, set in Vienna and Paris, picks up 11 years later with Pamela (Constance Rousseau, Victoire's older sister), now a young woman, warily reuniting with her father after a long estrangement. The reading aloud of letters between them, a conceit that could bring the film to a halt, is handled with finesse. Rousseau, a shimmering, delicate beauty, brings a combination of tentativeness and resolve to Pamela, a product of a fractious home embarking on her own life. Production designers Sophie Reynaud and Thierry Poulet get the telling accoutrements just right, from the rambling chaos of the bourgeois family residence to a struggling couple's suffocating apartment. Pascal Auffray's luminous cinematography, shot through with painterly light, brings to mind the pastoral idylls and muted urban landscapes of the Impressionists.
Wistful folk songs underscore the sorrow of missed connections, a condition that plagues Hansen-Love's intelligent, wounded characters.
Production Company: Les Films Pelleas. Cast: Paul Blain, Marie-Christine Friedrich, Victoire Rousseau, Constance Rousseau, Carole Franck, Olivia Ross. Director: Mia Hansen-Love. Screenwriters: Mia Hansen-Love. Executive Producers: not listed. Producer: David Thion. Director of Photography: Pascal Auffray. Production Designer: Sophie Reynaud, Thierry Poulet. Music: not listed. Costume Designer: Eleonore O'Byrne, Sophie Lifshitz. Editor: Marion Monnier. Sales Agent: Pyramide International. No rating, 100 minutes.
- 6/17/2008
- The Hollywood Reporter - Movie News
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.