Come Undone would have benefited immensely from less constricted performances from Elkaim and Rideau, both of whom go through the film determined not to crack a smile.
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Charged by Rideau's amazingly sexy performance as the most forthright gay character put on screen to date, this is a fine piece of filmmaking.
Come Undone's true subject is, simply enough, the perspective-warping enormity of first love, as preserved in a scrapbook of before-and-after snapshots.
A delicately managed piece that is by turns intimately detailed and elliptical, and that's an approach that suits the tangled emotions of its two protagonists.
The photography is strong, the performances sympathetic and the sex plentiful.
There isn't much here besides two self-absorbed kids.
One of those French films whose makers won't lower themselves to tell a story in a way that is entertaining or compelling.
A moody, subtle drama that has more in common with the tragedy of "Endless Love" than "Where The Boys Are."
Brings maximum subtlety, nuance and insight into the timeless story of first love.
The elusive, quicksilver nature of young love is often reduced to crude simplicities by the movies, but director Sebastien Lifshitz and writing partner Stephane Bouquet have observed it with a superb balance of aesthetics and insight in Come Undone.