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4 Days in France(Jours de France)

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France · 2016
2h 17m
Director Jérôme Reybaud
Starring Pascal Cervo, Arthur Igual, Fabienne Babe, Nathalie Richard
Genre Romance, Drama

One day Pierre decides to leave his life and lover Paul behind to travel aimlessly through France, letting himself be guided only by the people and landscapes he encounters. As Pierre wanders through France, Paul attempts to locate him via Grindr, a smartphone dating app.

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What are critics saying?

70

The Hollywood Reporter by Boyd van Hoeij

Four Days in France is certainly not a character- or narrative-driven drama, an impression reinforced by understated acting of the cast. What the film does offer is gorgeous shots of the French countryside and an idea of how different gay men navigate present-day life in France, especially away from large urban centers.

40

TheWrap by Dan Callahan

It’s as if Reybaud wants to put in every scene and character he has ever thought of in one film, and so his two main characters get lost.

88

Slant Magazine by Diego Semerene

There’s something liberating about such a steady creative hand that rejects justifying the twists and turns of a storyline, which becomes in 4 Days in France something akin to cruising itself.

60

The New York Times by Glenn Kenny

While Mr. Reybaud has exemplary artistic confidence and an interesting vision, this is a movie that in many ways defines or justifies the “not for everybody” critical hedge.

90

Variety by Guy Lodge

Unapologetically rambling but never dull at over 140 minutes, this story of two gay lovers both separated and united by mobile distractions of the flesh loiters coolly where the sensibilities of Jacques Rivette and Alain Guiraudie intersect — which is to take nothing away from the droll peculiarity of Reybaud’s own voice.

91

The Film Stage by Jose Solís

In 4 Days in France, writer-director Jérôme Reybaud establishes that almost any connection between humans, whether physically or digitally, can never truly be meaningless.

80

Village Voice by Melissa Anderson

Reybaud’s film similarly serves as a tonic lesson in physical specifics, each location populated with richly idiosyncratic conversation partners.

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