a father and dead ends on France 2


Adapted by Florian Zeller from his own play The father, The Father is a heartbreaking film. Anthony Hopkins is imperial in this role, for which he obtained a second Oscar.

For some time, he has been aware of not being completely clear with reality. As if he had become a minotaur trapped in a mental labyrinth, Anthony Hopkins (imperial in this role, for which he won a second Oscar) struggles silently in his London apartment.

Octogenarian having been accustomed all his life to lead a high train, he refuses the presence of all the caregivers offered to him by his daughter, played by Olivia Colman (There favourite). Through small details, the spectator quickly understands that the old man has gradually become locked in an inner maze, at the heart of which it is increasingly difficult to distinguish dream memories from reality…

Infinite patience

Olivia Colman tries to understand what is happening to this father she loves so much. And to plug, but in vain, the breaches. She shows infinite patience in the face of inconsistencies, mysterious mood swings, not to mention points of exasperation or ironic remarks.

Read alsoAnthony Hopkins: “The Father is one of my best films”

Adapted by Florian Zeller from his own play THE Fatherimmortalized at the Hébertot Theater in 2012 by another giant, Robert Hirsch, and which enjoyed international success since it was performed in forty-five countries, Tea Father is a heartbreaking film. Anthony Hopkins dares to play his own old age. The incomparable actor Remains of the day depicts his own vulnerability, underlines his fragility in the face of illness, his fear of death.

Overwhelming with contained emotion

Unmasked, without artifice, the actor is simply overwhelming with contained emotion. Florian Zeller, for his part, wraps his film in a very Kubrickian anguish. At times we think ofshiningbut also at Mulholland Drive by David Lynch. This staging, as relentless as it is dreamlike, operates like a dive into the depths of a foggy mind, which flirts with the thriller.

Read alsoThe Father, labyrinthine jewel by Florian Zeller on Canal +

For the spectator, who marries the inner point of view of the main character, sharing his incessant questioning, as well as an oh so destabilizing loss of control and temporal landmarks, the result is a surprising sensation. Like a series of powerful dizziness mingled with moments of derisory comicality. Until the final scene, which Hopkins acted out, he says, as if it were the last time he was acting.



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