MartinHafer This was a very frustrating picture to watch--partially because it seemed as if those who created it didn't consider how difficult it would be for the audience to follow the strange non-linear plot and partially because the characters are so poorly developed. Instead of the normal style of film making, ALICE ET MARTIN is told in a way that hops about from the past to the present again and again and sometimes with no apparent transition. While changing this perspective might have worked, the choppiness in connecting these segments was frustrating and at first I thought the reels had been mixed up in the wrong order! Also, many of the characters seem as if important parts of their development had been unfortunately omitted. For example, Julia Ormond ('Alice') initially dislikes Martin. Then, when they start to have a torrid affair, it almost seemed to come from no where. Then, only a short time later in the film, Martin is falling apart emotionally and treats Alice rather coldly and cruelly. You'd expect a normal person to leave, but then Alice invests her entire being in unfolding the mystery of Martin's life--at great trouble and expense to herself! Plus, how did she get from living in Spain with Martin with not even a Euro in the bank and then a scene later she's in France and no mention is made of how she got there or how much time had elapsed? Often, by the way, scenes jumped as much as a year but it was hard to know this was happening.This choppiness is a real shame, because if the film had been well edited, the characters more fully defined and the story told in a more comprehensible fashion, then it would have been a wonderful film. The basic plot involving the cold father and Martin was brilliant but got lost in the mess that was the film. The bottom line is that all the parts of the film never really worked together and the film should have been significantly better. I would love a remake--one that explores the relationship between the father and son as well as how the rest of the family is really part of the problem because they live in denial about the father--he was an evil and overbearing ogre, not the "great man" they claim he was.

valadas It's not exactly what we might call a bad movie but this story of the young illegitimate son who kills his father somewhat involuntarily during a fight and for that reason becomes neurotic since the fact was hushed up by the family to avoid a scandal, is rather weak and banal. The best part of the movie are the characters themselves and the acting of those who play the respective roles who do their best to make the story more impressive than it is in itself and not to appear as too stereotyped themselves. Special prominence must be given to the great Juliette Binoche who plays her role in a wonderful way. Her extremely attractive face, the gentleness of her expressions and the strength of her acting are unforgettable. The cut doesn't help either since its rhythm is also banal and uninteresting. The flash-back introduced in the middle does nothing to add anything valuable to the movie in terms of form and style. Its story could be told in the normal chronological sequence maybe with advantage. But to see Juliette Binoche in one of her best performances it's perhaps worth to go and see this movie.

donalohanlon When "Alice et Martin" was released in France in November 1998, one of the more positive comments was in relation to its unorthodox narrative structure. In Dec 1999, upon it UK release the film was again highly praised for its structure, editing technique and bravura score. In Jul 2000 when "Alice et Martin" was released in the US it was heavily criticised for its narrative structure, which may critics labelled confusing and non-sensical. Are we at a point that even critics need to be spoon feed a 123 narrative. The flashback in "Alice et martin" is admittedly disjointed at first - it's meant to be as it reflects Martin's psycological state. "Alice et Martin" is a simple story which breaks up into two distinguishable parts. We are introduced to Martin (Alexis Loret) in a prologue which sketches his troubled childhood relationship with his father. We then see Martin flee from his home and live rough in the countryside before landing on his brother Benjamin's (Mathieu Amalric) door. Benjamin share a flat with musician Alice (Juliette Binoche). initially Alice is a brittle presence and resents Martin for disturbing the equilibrium she has found in a sexless relationship with the gay Benjamin. Martin quickly become infatuated with Alice and eventually she gives in and allows herself to fall in love. this first section of the film is episodic and set over a year, although on screen it is approximately 45 minutes long. The changing seasons are reflected by scenes showing summer, autumn and winter views of Paris. The second part of the film begins when Martin is taken ill in Spain at the news that Alice is pregnant. We soon learn that he killed his father and cannot function as a human being or become a father until justice takes it's course, and he is punished. His stepmother was the only witness and Alice travells to Martins old home to convince her to testify at Martin's trial. Techiné's film is unorthodox in many ways. The relationship between Alice et Martin is un-even from the beginning with her taking the lead. It is also shown as a deepky sexual relationship. Alice's strength again come to the fore when she is fighting Martin's family. however it is the issues of law and punishment, as well as family hurt which again haunt Techine in his work. As well as the law of the land we are presented with a family law. Indeed all the characters are shown to construct families of their own - ala Benjamin and Alice'e "Zoro - Zero" relationship. The performances in the film are great. Amalric, Carmen Maura as Martin's mother and Marthe Villalonga as his stepmother are great. Alexis Loret in his first screen role is blank and his performance has been criticised for this. Yet I think this is exactly how he should be. His entire life is stunted by his guilt. In her first role since winning an Oscar, Juliette Binoche does what she does best - underplays the drama and steals the film, coming into her own in the second section. Caroline Champetier's cinematography of Paris, Granada and South West France is ace, while Philip Sarde's score is assured and complimentary. Alice et Martin is not perfect. The final act labours a little too much on Martin's guilt rather than portraying how it affects his relationship with the pregnant Alice. He is also shown at the end in prison, a step to far, we dont need to know that - we only need to know that he is taking responsibility for his actions and being allowed to do so by his family. Interestingly while all of Martin's brothers all have major issues with their father, who is described as cold, distant and hard, Téchiné does not present him as a monster - instead the relationship between father and sons is a lot more ambiguous and interesting. All in all one of the best French movies of 1998. Téchiné's most mature film and a terrific turn from Juliette Binoche.

atmanda ah its not bad. There's a moment in every French film, where you suddenly think - but how can they afford all this. Thankfully, it does not come till half way through in this one, when Martin has spent up his modelling money and is going mad on a Spanish beach.Luckily the best part is come at this stage, as Alice struggles to unravel Martin's messy past. The family especially Carmen Maura as the mum are excellent. You get a real feel for the bitterness and intimacy that a big family filled with secrets and lies generates.You will have a bad time if you don't like Juliette Binoche though. The camera lingers on her in every shot. She is a good actress, but nowhere near as pretty as Techine (and many others) think.