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Father of My Children(Le père de mes enfants)

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France, Germany, Belgium · 2009
1h 50m
Director Mia Hansen-Løve
Starring Louis-Do de Lencquesaing, Chiara Caselli, Alice de Lencquesaing, Eric Elmosnino
Genre Drama

Gregoire has everything a man could want: a wife he loves, three delightful children, and his dream job as a film producer. But film is a risky business, and Gregoire’s realization that he may have made one gamble too many will trigger a series of events that will change the lives of his family forever.

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What are critics saying?

80

Variety by Justin Chang

Marked by moments of remarkable stillness amid its emotional tumult, the film's classy, perceptive treatment of potentially maudlin material merits wider arthouse attention than it's likely to receive.

60

Time Out by Keith Uhlich

When The Father of My Children shifts focus to Grégoire’s wife (Caselli) and children (the eldest is beautifully played by De Lencquesaing’s actual daughter, Alice), Hansen-Løve’s hand steadies, and she reveals a true talent for intimate, behavioral observation.

80

Los Angeles Times by Kenneth Turan

What French writer-director Mia Hansen-Love has created is an extraordinarily empathetic humanistic drama, a film of love, joy, sadness and hope that understands how complex our emotions are and does beautiful justice to them.

90

The New York Times by Manohla Dargis

A tale of cinema, a story about the agonies of trying to work outside the cinematic mainstream (even in France!). Yet what makes the movie so affecting is that it’s also a love story about a family.

80

Movieline by Michelle Orange

Hansen-Løve’s gifts for mood and eliciting controlled, empathetic performances are well-suited to her sensitive material, and ultimately overshadow the film’s difficult and uneven central characterization.

75

The A.V. Club by Noel Murray

It’s refreshing not to be led along or handled by a filmmaker, but given the almost-novelistic structure of The Father Of My Children--which juggles half a dozen or so major characters and follows their reaction to a crisis in obsessive detail--the movie could stand to be a little more dynamic.

88

Chicago Sun-Times by Roger Ebert

The film's second half is the most touching, because it shows that our lives are not merely our own, but also belong to the events we set in motion.

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