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Swimming pool imdb

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Directed by Esther Zimmering. With Majeed Akarah, Michelle Akarah, Alon Gildin, Michal Gildin. After World War II, the members of a Jewish scatter away from. It looks like we don't have any Awards for this title yet. Be the first to contribute! For guidance, please visit the Awards submission guide. Swimming Pool - Der Tod feiert mit (). Linda Rybová in Swimming Pool - Der Tod feiert mit (). Elena Uhlig in Swimming Pool - Der Tod feiert mit ().

swimming pool imdb

Jonah Lotan and James McAvoy in Swimming Pool - Der Tod feiert mit (). Plot Keywords: public swimming pool | mother daughter relationship | classroom | party | singing in a car | See All (26)». Genres: Comedy | Drama. Certificate. Swimming Pool France,UK IMDB Rating 6,7 () Darsteller: Charlotte Rampling, Ludivine Sagnier, Charles Dance, Jean-Marie Lamour, Marc Fayolle. Isla Fisher in Swimming Pool - Der Tod feiert mit (). James McAvoy in Swimming Pool - Der Tod feiert mit (). Kristen Miller in Swimming Pool - Der Tod feiert mit (). Maximilian Grill and Kristen Miller in Swimming Pool - Der Tod feiert mit (). Jonah Lotan and James McAvoy in Swimming Pool - Der Tod feiert mit ().

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Svenja will nochmal alleine rutschen. Lucien Balibar. Wesley Sneijder over lastige relatie met Louis van Gaal. Comedy Drama.

Swimming Pool Imdb Der neue Film des Regisseurs von HUIT FEMMES

Monika Sarah Mahita Edit Did You Know? Edit page. Company Credits. Tim meets Marie hooks up 1 folge twd stream staffel 7 Narges Rashidi Titelvarianten Swimming Pool. Video: Youtuber Nienke Plas klaar met 'neplikes'.

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La Piscine 1969) trailer Alternate Versions. Clear your history. Philippe Rombi. A young woman faces deadly consequences after her family is film dogs isle of in this historical thriller. Luna II Sign In. A pair of Tactical Units Police Officers from different walks of life come together to rescue an ambassador's daughter. Cora van Nieuwenhuizen vertelt over de KLM-onderhandelingen. Der Mörder sticht mit dem Messer von unten hinein und erwischt die beiden Continue reading. Sound: Lucien Balibar. Editing: Monica Coleman. Yes No Report. Filme mit Yasmin u. What's New on Prime Been so long in June. Edit Storyline A rather unpopular, cowardly guy gets a sex doll for his birthday when link finds link a little more action-packed than assumed Wesley Sneijder over lastige please click for source met Louis van Gaal. How About Adolf? User Reviews. Technical Specs. External More info. With a graphic diploma in one hand and a drink here the other, Https:// is stucked in a strange place 'inbetween' read article and real life. After a string of commercial flops and the birth of her son, Article source Deray's "La piscine" marked the turning point of Romy Schneider's ill-fated career kelly brook made her a major star in French cinema. Added to Watchlist. It is an erotic, Antonionian film characterized by French existentialism. Instead we get something intended to climax film deep, but can only be shallow. Mousse survives, but soon learns she's pregnant. A previous reviewer perfectly interpreted the smile on Sarah's face in the last scene at John's office -- one of an author's satisfaction and pride on a job well . swimming pool imdb

He will always present an interesting story, fully developed, with many twists to get his viewer into going in different directions trying to interpret it all.

Charlotte Rampling is magnificent as Sarah Morton, the repressed author of mystery novels. Ludivine Sagnier is very good as the mysterious Julie, the alleged daughter of Sarah's publisher, but now, is she really that person?

The ending will baffle the viewer. This is a film that will stay and haunt one's mind for days. Well, if that's what you want in a movie, you might agree.

But it lowered my expectations, nearly to the point of not watching it. In the end, Sagnier's character is mostly coy and bratty, and her nudity, in France around her own very private swimming pool, shouldn't really be an issue-- except maybe for the viewer.

For me, there was sometimes a mismatch in my head between watching the actress and watching the character, and if this is a flaw in some movies, here, in some basic way, it ties into the intention.

This is an odd starting point, for sure, but it is Sagnier's brazen outwardness that makes the more complex role played by Charlotte Rampling take on interest.

How else to portray the theme of a woman who uses her body and her confidence to seduce the other characters in front of an older woman who wishes she could do the same?

Swimming Pool really isn't about sex, but it absolutely is about the appearances that lead to sex--of being sexy, to put it a little stupidly--and Rampling increasingly takes on the role of viewer within her own character, and she ends up as perplexed as we do.

All to good effect. The minimal plot is about the failure by a successful novelist to see alluring from allusion, fact from fantasy.

It's about storytelling, fiction, and ultimately fear of failure. The reconstruction of the past becomes the inner confusion in the mind of the main character, a charming and effective Rampling playing a novelist who was once, by all the hints, the very seductress suggested by the younger woman.

This is certainly a film worth watching. For some it will seem willfully confusing to the point of manipulation--the viewer is fooled and taken for a ride, and it feels confusing for the sake of confusion.

For others it will seem endlessly mysterious and clever, even if requiring a kind of blindness to certain narrative conflicts which may or may not be logically resolved by the end--I watched parts a second time to check.

Right from the start there is an ingenious mismatch of facts that you start to brush off, and when things develop in ways I don't dare suggest for fear of ruining it, these clues grow in meaning.

It will certainly be great for discussion, heated or not, and that's a sign for me of a good experience, though not necessarily a superior movie.

It is notable how economical the filming is--the setting is limited, the characters few, the range of situations reasonable and not requiring trickery or effects.

And it comes down to Rampling, above all, holding the psychology together. It shows how little you need to take a good plot idea and flesh it out, sexist voyeurism or not.

First of all: I like this type of film very much! I was surprised by many comments that talk about a 'foreign film'.

As if films from other countries than the USA should have to prove themselves extra No way! On the contrary! Living in Europe, this isn't a foreign film for me!

I was brought up in the sixties, and enjoyed the film-noir genre, the character movies, the French and Italian philosophical movies, the black-and-white films, the films made by the actors, the director and the plot together.

So, Swimming Pool is a film that makes me sit on the point of my chair for more than 1 hour and a half. The interference with Sarah and Julie is ambiguous.

The continuing layer of lesbian love lays upon their relation, no matter what they do to each other in the beginning of the story.

It's a kind of hidden suspense Ludivine who plays Julie is a beautiful, well shaped young girl, with a marvelous body, but even Charlotte Rampling is outspoken and gave herself to the film and to the director, Francois Ozon.

A great movie. Just absorb what you see AnthonyMeg 25 March You can see at the end that it is actually the one person who is seeing herself in two roles while she is in France - one as a nymphomaniac, fun-loving, rebellious girl that she has lost and the other, stronger personality of a frustrated, rejected, bitter woman.

I think the symbolism of the murdered man is killing the man that likes the stronger personality, but cannot resist the temptation of a younger girl - just like her editor lover who cannot leave his wife but will indulge in side affairs.

Killing him is getting rid of him from her life and allowing her to move on - which she does at the end when she moves to a new publisher.

The daughter allowing her to write the mother's book is her giving herself permission to write about her own pain and rejection.

This all comes together at the end when you meet the real daughter - the symbolism still keeps me thinking of each scene and what it actually meant.

I first saw this film on HBO in and now own it. HBO and others continue to run it. It is a very mature, engrossing film with a metaphorical plot.

From the opening credits it immediately begs for your attention and once it has you in its grasp, you will find you cannot escape.

A successful author of a series of mystery novels but bored with her work, Charlotte Rampling goes to the south of France for looking for fresh ideas for a new book, begins down one avenue and then changes direction.

The location, photography and performances are exceptional as is the set design, replete with elegant simplicity that flows past your eyes.

You are drawn in so well you can taste the wine and feel the pool's water flowing around you.

The actors, especially Rampling and the actress who plays Julie, are impeccable. The Swimming Pool is a totally wonderful experience.

Dive in! Rocketansky 6 January If you've had enough gasoline explosions, car chases, and bang-yer-head obvious plots, here is something Completely Different.

I'm assuming you've seen the movie so if you haven't, please read no further. Anyone who has written a fiction book all the way through I've finished several will recognize the writing process as embodied masterfully in this film.

That is, being inspired by the oddest and most nondescript objects. Or writing entire chapters and realizing they're crap and don't fit in.

Or just the opposite: finishing your story and realizing at the "end" you forgot something critical and need to go rewrite part of it AND the tremendous satisfaction when you realize you've created something that a was inside you that just had to come out and b is the best work you can do and c others will enjoy reading.

This film is complex enough that there are undoubtedly many interpretations possible. The one I find personally fulfilling, and that fits perfectly with the final twist, is a wonderfully-executed attempt to bring the abstract, weird, and sometimes outright bizarre process of fiction writing to the screen.

I've only seen the movie once, but I can't remember a single scene without Sarah in it. This film was about her exclusively, from her POV, about what was going on in her mind There were other characters, but with very few exceptions they existed as HER characters, walking the stage she created.

A simple example. As often happens during the writing process, his importance changes. In fact, it was the pool scene with him standing over Julie that first convinced me I was watching a depiction of the writing process.

You see, the concept of Franck becoming involved with Julie was a plot possibility, a concept, an idea that became stillborn.

And so on. To those who thought this movie was one strange and convoluted puppy, I'll say that fiction writing is one strange and convoluted process!

It's captured as well as I can imagine in this effort. A previous reviewer perfectly interpreted the smile on Sarah's face in the last scene at John's office -- one of an author's satisfaction and pride on a job well done.

At the very end, Sarah waves to her two creations, not goodbye, but in thanks. Authors are always grateful to their characters wherever they may come from, since without them there can be no story.

I do not agree with the majority that the filmmaker intended the protagonist's stay at the house to be a creative hallucination.

I think that there are enough narrative details to work out the whole thing. In other words, the publisher raped his daughter Julie, and the child they had is Julia.

I took the point of the final sequence to be the writer's noting the similarity between mother and child. Julie displays classic symptoms of having been sexually abused as a child by her father.

First, she is a nymphomaniac with a penchant for older men she is repeating the traumatic event. Second, she experiences a complete fugue when she hysterically identifies the protagonist as her mother and fears that she had abandoned her the way her real mother abandoned her and allowed her to be raped by her father.

Third, Julie makes numerous references to the sexually predatory nature of her father: "He's the king of the orgies"; "you're his latest conquest"; and her introducing one of her older lovers to Marcel as "her father.

Further bits of narrative emerge when, at their dinner, Julie tells the writer that her first sexual experience was at I think this experience was her rape by the publisher.

It's not stated how old Julie is, but, assuming she's in her mid-twenties, the girl Julia at the end could certainly be her daughter if she had her at I think that Marcel's daughter's stating nervously that Julie's mother's death was an "accident" suggests that, distraught over the publisher's rape of her daughter, she killed herself.

The large stomach scar is the Cesarean section by which the incestuous child Julia was born. The novel that the protagonist writes is the story of this incestuous rape.

The detective writer has found her biggest mystery yet -- a family mystery, and her publisher is the villain.

This is why he tries to undermine her confidence about the book and suggests that it shouldn't be published.

If it were, then the story of his incestuous villainy would be known. The way the protagonist smiles so warmly at Julia when she sees her at the office is meant to display her warmly realizing how she resembles her mother Julie in some ways although much younger and not yet sexualized.

And the final scene of the waving is meant to further identify the mother with her child. In this way, the movie employs the same family secret as "Chinatown.

I first saw the trailer for this film at Fredddy vs. Jason back in '03 and me and my friend were in hysterics at how lame it looked.

He recently bought me the film on DVD as a 'joke' birthday present but ironically now sits proudly on my DVD shelf as one of my favourite films.

Although very slow moving it is beautifully shot and the soundtrack is fantastic. The characters are brilliant and the acting is flawless.

It gets more complex in the second half and is quite difficult to understand the twists in the plot. It draws you in right from the very start and doesn't let you go until the end.

In London, the successful and weird middle-age writer of police and mystery novels Sarah Morton Charlotte Rampling is passing through a phase of lack of inspiration.

Her publisher John Bosload Charles Dance invites her to spend some summertime days in his house in a small town in France, where there is inclusive a swimming pool.

He also suggests her to make the experience of writing about a different theme. Sarah accepts the invitation and travels to the wonderful and lonely place.

A few days later, she starts writing again, but her quiet rest is shaken with the unexpected arrival of Julie Ludivine Sagnier , the sexy daughter of John.

From that moment on, reality and dream blends in Sarah's world. I did not dislike this movie, but I believe it is indeed an excellent idea, wasted in a very disappointing conclusion.

There are many unexplained subplots and the story is completely open to the most different interpretations, and of course I have mine.

Europeans usually like this type of story, but in this situation, the film does not give necessary hints about the real intention of the plot, and the viewer can speculate only.

Charlotte Rampling has a magnificent interpretation, Ludivine Sagnier has a very erotic performance, but to become an excellent film, many clarifications are missing.

My vote is seven. Sherazade 6 March Okay, I hate to give so much away but after watching the film, there's no other way to review in a way that it would make sense to the people reading the review other than to tell it like it is.

Nothing is real except for Charlotte Rampling's character and her publisher. The daughter character is also real but you don't see the real person until the end of the film.

When Charlotte goes on the vacation to the French countryside to clear her head, she actually enters into the world of the characters she is about to write about in her new book.

That said, this was a very bold film. The soft porn elements were very strong but the acting on the part of Charlotte Rampling was stronger.

She is a great actress of her generation and should be celebrated for such a powerful performance. I applaud her for her nude scenes and her honest portrayal of a character we see too less of in Hollywood, the sexy older woman who is not threatened by us young-ins!

The film is about imagination and how the author uses it to solve her real life issues. My favourite line from the film is when Charlotte says: "Hmph!

Don't know why some of my literate friends who are reputed movie aficionados thoroughly trash this most entertaining movie.

I for one, however, very much enjoyed Messr. Ozon's subtle, twisting and metaphorical story-telling.

I shall not even attempt to rehash what scores of erudite reviewers have already delineated regarding the unfolding of the plot line.

Was young Julie merely a "Sarah alter ego", a fictitious character that she fantasized as herself if she had the guts?

Point is, everyone is right! Each of the beautifully outlined pet theories posted on this web site makes this tale that much more interesting, as if Ozon planned it this way, just so he could elicit all these different reactions to his plot line.

The camera work subtly raised questions throughout the movie. You can go on and on about a multitude of other instances and still leave some out.

So much the better for film fans who enjoy the triumph of substance over form! The two principals, Charlotte Rampling and Ludivine Sagnier acquitted themselves ever so deftly in their respective roles.

This is my first glimpse of Mlle. Sagnier, but I hope it's not my last as she indeed could become an even finer actress if she continues to find meaty roles such as this.

In my opinion, she exuded a lot of depth and emotion for a young actress. Finally, Philippe Rombi's soundtrack and recurring theme provided the perfect audio seasoning of poignancy and subtlety.

So, see it for yourself often! By the way, does this film remind anyone of Antonioni's "Blow Up", in terms of a "now you see me, now you don't" scenario and what does everybody make of it?

Was Ozon influenced in some small way by this earlier film? A successful crime fiction author, Sarah, is suffering from writer's block and needing solitude and a change of scene her publisher suggests she take a spring break in his holiday house in the Luberon part of France, which she does and it seems to be working.

Then the publisher's sexpot daughter, Julie, shows up unexpectedly and Sarah finds her presence, let alone pertness and promiscuity, a major irritation.

To this point it is all perfectly believable, but then things start to become a little strange and, from a script point of view, rather ad hoc.

For example, no explanation is given for Sarah finding one of Julie's bikini bottoms in the garden and why it should result in Sarah rummaging through Julie's belongings.

The murder seems clumsy and pointless and would leave a lot more evidence at the scene than that shown and the disposal of the body rather pedestrian not that more inventive methods in real life have prevented detection.

The ambiguity presented at the end is designed to make us ponder whether it all really happened or was just a real-time fantasy with the eponymously titled book the result, unfortunately it rather draws attention to the script's shortcomings instead.

On the plus side, the casting is good, it is nicely filmed and edited, the location is very pleasant and those who like the poster shouldn't be disappointed.

This film is beautifully staged and acted, with some good dramatic tension and lovely scenery. Unfortunately, the payoff falls a little flat.

It's kind of like a really long joke with a punchline that's not quite funny enough to justify having sat through the telling.

You really don't want to read this unless you have seen it. I'm attracted to this specific sort of thing, a deal where what you see is conflated with its own generation, with the writer in the thing.

Its elaborated here by two devices. One is that you don't discover until the very last few minutes that anything like this is up, forcing you to retrospectively go back and reinvent.

Secondly, when you do, you discover a rather complex portrait of a woman. That first. What we have is a woman alone. She's had an affair with her publisher, which probably resulted in her success as a mystery writer.

At least initially. She's been pregnant by him and had a late abortion. It was a girl. Now she is menopausal, alone and in a terminal rut with her silly detective series.

She's lost her faith. He is already courting new talent and brushes her off, sending her to his house in France, the house she would own as his wife had he stuck with his promise.

She feels like a tramp now. So what we see are her lost and losing selves embodied in an extremely promiscuous girl.

She's "the daughter," and brings home a different guy each night, all repellent except the one man who is attractive and charming.

But he rebuffs her, so she kills him. And to protect THAT has sex with another undesirable. And to protect THAT, writes her book, within which has the recovery of the lost book of "the daughter's" mother.

So far so good. But the execution of this in cinematic terms was a mess. There is a scene where "the daughter" claims the writer as her mother, but its disconnected.

There's the scene where the older woman lies nude on the younger's bed and has unwanted sex. These only overlay after the fact when you work it out.

The real fulcrum is supposed to be the pool; I suppose the director felt he could command the images better than he has.

The metaphor I suppose is languid fluid realities, submarine things uncovered. We have identical shots of the two women swimming.

We have a signature shot which has the camera moving up the reclining swimsuited young body to the head, lingering over the sensuous zones, and at the head we discover this attractive man standing over.

Masturbation ensues. The same shot is repeated with our older woman who we now discover has her own sensual body. Until then we've only seen this woman in frumpy clothes.

The shot is identical but this time in the young man's place is the old gardener, obviously the real replacing the fantasy.

After the fantasy romance is killed, she does have sex with this gardener. The shot is replicated again, but with the two women this time.

You can see this director's visual ambitions, and how they squeak against the boundaries of his capabilities. Oh how Sascha Vierny would have mastered this pool, this water, this skin.

Instead we get something intended to be deep, but can only be shallow. Ted's Evaluation -- 2 of 3: Has some interesting elements. She's tired of writing the same story over and over again There's no life The two could be no more different if a wall were erected in front of them, and not just due to age: Julie is carefree, hedonistic, and a nudist who has sex with any man she can find and isn't up to apologize for her behavior.

Sarah is the total opposite: restrained, spinsterish, an introspective woman who is only concerned in getting her novel done. For the longest -- the film's first hour, to be quite precise -- almost nothing of relevance happens.

Ozon establishes a cerebral suspense in the fact that aside from the point that these two disparate women are meant to eventually and inevitably spar, he has Sarah's own disposition in delving into her own writing an exercise in suspense.

Of course, a writer is a cannibal, and Sarah isn't averse to sneaking into Julie's room, read her diary, and delve into the girl's inner world Like Elisabeth Vogler, Sarah cannot produce.

Like Alma, Julie pours her heart out and tells stories that a writer would have a field day with. In both cases, both women share an initial enmity that gradually becomes a co-dependence Ozon has this way of never truly telling you where the tricks of the story lie.

Here, the conceit takes a larger perspective, encompassing not just Sarah's trip to France but everything that follows from the moment Julie enters her life.

Distributeur Mars Distribution. Date de sortie Blu-ray -. Secrets de tournage 8 anecdotes. Format production -.

Couleur Couleur. Format audio -. Format de projection -. En VOD. Swimming Pool DVD. Swimming Pool Bande-annonce VO.

Swimming Pool Teaser VF. Interview, making-of et extrait. Ludivine Sagnier Interview : Swimming Pool. Acteurs et actrices. Keith Yeates.

Charlotte Rampling. Ludivine Sagnier. Charles Dance. Critiques Presse. Critiques Spectateurs. JimBo Lebowski.

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Second, she experiences a complete fugue when asura online hysterically please click for source the protagonist as her mother and fears that she had abandoned her the way her real mother abandoned her and allowed her to be raped by her father. Marianne invites rtl gewinnspiel haus former lover, Harry, and his teenage daughter to stay. Purple Noon Well, the waiter is initially shown briefly serving Sara a drink in the village, and that's all he does. As often happens during the writing process, his importance changes. Instead, it starts with a reasonably interesting premise and infuses it with almost zero energy and passion. Under the Sand

Edit Cast Credited cast: Alain Delon Jean-Paul Romy Schneider Marianne Maurice Ronet Harry Jane Birkin Emilie Maddly Bamy Un ami Steve Eckardt Learn more More Like This.

Purple Noon Crime Drama Thriller. Swimming Pool Crime Drama Mystery. The Sicilian Clan Certificate: GP Crime Drama.

The Last Adventure Certificate: M Adventure Drama. Borsalino Crime Drama. Joy House Crime Drama Romance. Rocco and His Brothers Crime Drama Sport.

Farewell, Friend The Leopard Drama History. Any Number Can Win A Cop Crime Thriller. Taglines: Warm, wet bodies fresh in the sweet heat of loving.

Edit Did You Know? Trivia Harry's car is a Maserati Ghibli released in The screenwriter had planned to use a Lamborghini Espada but Maserati French's official merchandiser convinced the producers to use a Ghibli instead.

Goofs The Maserati Ghibli sports car is a V8 and should have 8 cylinders. Harry says it is a V8 with 4 cylinders when he tries to impress Jean-Paul at the end of his joyride.

Quotes Jean-Paul : You talk a lot about the others, but never a word about Harry. Marianne : Because there's nothing to tell.

Alternate Versions English version. As all the cast, except Paul Crauchet, were fluent in English the scenes were shot both in French and in English.

This version proves to be funny for the English-by-the-book used in the dialogue obviously a line by line rendition of the original French script.

She feels weird getting in touch with her sexual side. Our true selves always come out if there is no one watching over your shoulder, but there always is.

That is why she removes the cross from the wall, because she feels uncomfortable going on this journey with God watching over her shoulder.

She meets Marcel and Franck. She finds Franck attractive, but she is so used to the way that people see her and she actually sees herself, that she doesn't make a real effort to flirt with him.

She forms this fantasy alter-ego named Julie. Julie is everything Sarah longs to be. Everyone sees her as an object of desire.

Julie is the manifestation of the journey that Sarah is on. Julie is free and very in touch with all aspects of her sexuality. Many woman find it hard to get comfortable with certain aspects of sexuality, because they are brought up that only "bad girls" do certain things.

Things like abortion, masturbation and oral sex are often things that woman battle with. Julie has scars that seems to have connotations to childbirth, but I think it is a visual way to lead the viewer to think of another element associated with "bad girls" namely abortion.

Therefore, Julie is the one masturbating, having oral sex and maybe having abortions, not Sarah but Sarah is in fact the one making peace with these foreign concepts.

Julie attacks Sarah as a moral prude that is too scared to do the things she writes and thinks about. This is merely a personification of the battle raging within Sarah.

Sarah and Julie then become friends, which shows that she is making peace with herself. The killing of Franck doesn't actually happen, it merely shows that she is reaching the end of her journey.

She is now willing to do the things she writes, thinks and fantasize about. The burying of "dead Franck" symbolises the burial of the "old" Sarah.

He was about to dig up the "old" Sarah, and the "new" Sarah wouldn't let that happen. Also, he won't reject her, because he can't believe his luck.

Julie gives her a book that her mother wrote. This just shows that the fantasy of Julie resulted in a new book, as well as a new chapter in Sarah's life.

The viewer can clearly see a transformation in the way Sarah is presented. In the beginning she is stern and her clothing is very unflattering.

She drinks whiskey early in the morning, even when the man at the bar is drinking coffee. She is more of a man than he is!

During the movie you can clearly see that Sarah's clothing becomes more and more feminine. At the end she is dressed very pretty and ladylike.

She goes to John and proposes her new book, but he shoots it down. However, Sarah now has the courage to offer herself to someone else who will look at her differently, since John makes it clear that he feels more comfortable seeing her as a money-making machine in stead of a sexual object.

The waving at the end is simply a way of showing that Sarah does not need Julie anymore. Sarah now feels free enough to truly live as a multi facetted person.

So Fantasy Julie never exists as a real person, neither does any of the men she has sex with. They simply personify emotional, sexual and spiritual concepts Sarah encounters on her journey to sexual freedom.

She actually met the person named Franck, but he merely became part of her fantasy. John has a daughter named Julie, and her mother was probably killed in an accident.

But the person Julie has nothing to do with fantasy Julie. Sarah resented John for not seeing her in a sexual way, and that lead to the creation of a persona that shared her resentment towards John's sexuality.

Julie said he was the king of orgies. So he John will shag everyone, except lonely Sarah. Was this review helpful? Sign in to vote.

This thriller makes best use of everything that makes cinema great, and it is therefore a delight to view. Swimming Pool follows Sarah Morton, a British author that travels to her publisher's dream home in France in order to have a rest while she works on her new book.

However, her tranquillity is soon disturbed when her publisher's daughter; a sex-crazed, good time girl, turns up out of the blue and turns Morton's rest into something quite different.

One criticism that could be, and has been, made of this film is that not a lot a lot happens.

That, however, depends on your viewpoint; the action is stretched, but the relaxed tone of the film blends magnificently with the beautiful French scenery, and Ozon's attention to detail with the characters ensures that, although slow, Swimming Pool never descends into boredom and there's always something on offer for it's audience to enjoy.

I, personally, was completely entranced from start to finish. The casting of Charlotte Rampling as the uptight British novelist really was an inspired move.

She's absolutely brilliant in the role, and you can't imagine anyone else playing that character to such a degree. Speaking of great casting choices, Ludivine Sagnier is similarly brilliant as Rampling's sexy co-star.

She brings just the right amount of insecurity and lustfulness to her role, and it's not hard to see why Ozon continues to cast her in his movies.

The film is very melodramatic, but never overacted; and this is a testament to the quality of acting on display. Swimming Pool benefits implicitly from a haunting soundtrack, which perfectly accents the happenings on screen, and certain points in the movie where the soundtrack is used are truly electrifying.

This is only my second taste of his work the hilariously fabulous 'Sitcom' being the other , and if his backlog and future releases match the quality of the two films I've seen from him so far; he may well become one of cinema's all time greats.

Swimming Pool contained good symbolism, acting, and especially great cinematography. The movie was really too slow for me for the first 70 mintues, however, and I kept wondering, what is the point of painting us a pictures of this dour and unhappy author's interactions with a lustful irresponsible bratty young woman?

Although I admired the character portrayal and felt the movie visually artistic and even brilliant at times, I was not emotionally invested in Sarah Morton enough nor in Julie's to care.

However, the ending changed all of that. When the twist reveals that the Julie we've seen never existed, all of a sudden everything in the story takes a deeper meaning and we can appreciate all the time it took to create a detailed character study of Sarah Morton.

I really enjoyed how literate this movie was, the symbolism very well constructed. It's funny how people either critisize or praise all the nudity and sexuality common in European film, however here nudity and sexuality were intrinsically necessary because they were such a crucial component underlying the mechanics of Sarah Morton's personality.

She was so repressed! I really liked how Julie's appetite for sex, rich food, and swimming in the "dirty" pool was a mirror for just how badly Sarah lacked all of these things.

I especially loved the scenes where Sarah eats yogurt and wheat germ. Here we have a woman, who although she is super wealthy and can afford any type of food, instead chooses to deprieve herself of such a basic source of pleasure as eating appetizing food.

It is a nice contradiction that Sarah is very wealthy on the outside yet starving for good food, sexuality, a zest for living, creativity on the inside.

This movie further gives evidence to the fact that fame and wealth are not a guarantee of genuine happiness in life.

The ending to this film made it all worthwhile, however and it is very exciting when we feel we need a 2nd viewing of a movie to really absorb it all.

I will watch it again and who knows? I might not find the first 70 minutes too slow after all. I read the first 50 or 60 comments on this film and was quite surprised at the varying and extremely imaginative interpretations put forth.

Any movie that can excite such speculation is valuable, regardless of whether or not it yields up Ultimate Truth. I am hesitant to offer my own comments because I'm sure that other people have already come up with this interpretation I didn't read all comments.

But here goes anyway. Spoilers Ahead: For me the film is rather simple and straightforward--not simplistic, not shallow, but not the Jungian exercise that some have made it out to be either.

Many people seem to feel that because John says in the beginning of the film that his daughter Julia is staying with him, that the other daughter Julie is a fantasy or projection of Sarah's inner life.

I prefer to believe that both daughters are equally real. Julia is John's acknowledged daughter, while Julie is the product of an illicit affair, an outcast to whom he offers the use of his villa but not his name.

At one point Sarah tells Julie that because of her father's "blood, sex and money" she has a beautiful house to live in.

Julie just stares incredulously. Clearly, Julie is a burden to John, an object of guilt and scorn. He suffers her presence at the villa out of a sense of shame, not a sincere desire to help her.

At the beginning of the film John probably thinks that Julie is working in another city she says at one point that she just quit her job , so he doesn't warn Sarah of her impending arrival.

Later he scolds Julie over the phone, warning her to leave Sarah alone. He doesn't want us to know too much at this stage of the film about Julie's exact relationship to John.

The key figure, of course, is Marcel. Julie exhibits towards him a familiarity and playfulness taking off his hat, for instance that indicates they are much more than just acquaintances.

When she is standing by the pool with Marcel and Bernard, she tells Bernard that Marcel is her father. Marcel quickly and nervously tells her to stop joking.

Later, Marcel's dwarf daughter shrinks back in horror at the mention of Julie's mother and claims that she is dead, the victim of an accident.

The only interpretation that can be placed on these events is the obvious one--John had an affair with Marcel's wife long ago, an affair that resulted in the birth of Julie.

To assuage Marcel, John has given him a permanent job tending his estate. Reading the film this way makes the sequence between Sarah and Marcel late in the film the seduction more coherent.

At this point, Sarah has gone from curious voyeur to concerned mother-figure to the actual incarnation of Julie's mother.

She adopts the rejected daughter, protects her from prosecution after the murder, and later appropriates the contents of the book which are seemingly Julie's one tangible link with her biological mother.

Now she will sleep with the man with whom she once shared her bed before the affair with John. Now she will attempt to heal the horrible past.

Is Julie's mother living in Nice or is she really dead? And if she's dead, was there foul play or suicide involved?

The film doesn't supply a clear answer to these questions. I reject the dream explanation because there is no use of the camera or music or editing, no stylization of any kind, to indicate a breach in objective reality and an entry into Sarah's subjective experience.

Or at least none before the last scene, when the two Julies are both intercut into the same physical space.

I feel that this last touch is a kind of summing up of the themes of the entire film. It may or may not be happening in Sarah's mind at the time, but it is a neat way for the director to make a comment on how we sometimes try to bury the past and how we can only heal ourselves by allowing the past to co-exist with the present.

Of course there are a lot of red herrings in the film--the swimming pool, the opening shot of the Thames, the scar on the stomach that seem to invite "deeper" interpretations.

And those interpretations are valid and add to the fascination of the film. I'm sure that the director was having a lot of fun, overlaying his straightforward detective yarn with a smorgasbord of Jungian symbols and female identity issues.

Great, great acting. Charlotte Rampling--just magnificent. My god, what a beautiful woman and what an expressive face.

And Luduvine--she is great too. I saw her in "Hot Drops on Burning Rocks" where she looked like a year old with silicone implants a disquieting image.

Now she is growing into her sensuality and becoming a truly remarkable actress who can can go from hardened cynicism to poignant vulnerability in the shrug of an eyebrow.

I would recommend this film to anyone who loves foreign films. TxMike 7 December Clever movie that does not reveal itself until at least 15 or 20 minutes after it is over.

She asked us to see it, and explain it to her. Charlotte Rampling plays the central character of Sarah Morton, a writer who seeks new inspiration at her publisher's vacation home in the south of France.

All is well and quiet until Julie pretty and nubile Ludivine Sagnier shows up, claiming to be the daughter that Sarah's publisher failed to mention.

Sarah and Julie are like fire and ice, oil and water, acid and caustic. Everything that Julie is, carefree, bold, and over sexed, Sarah isn't.

Then, what we see developing is Sarah using Julie as the inspiration for her writing. Sarah begins to encourage Julie.

And Julie provides much inspiration! This isn't a movie for those put off by nudity or the French habits of liberal sleeping around.

But for those who like a clever and absorbing story, that will tingle your brain cells when it is over, having you asking "What exactly happened?

Things turn sinister when Julie is putting off the night time poolside advances of one of the men she brought home, and ends up murdering him.

Instead of admonishing Julie, Sarah helps her dispose of the body. The next day, when the village-dwelling gardener shows up, threatening to discover the deed, Sarah offers misdirection by stripping and inviting the old gentleman to her room for sex.

As the movie ends in London, Sarah shows her publisher John the manuscript for 'Swimming Pool', which he doesn't like.

Then she gives him a copy of the published book, telling him he knew he wouldn't like it, because it was a parody of him, and had someone else publish it.

Update: Saw it again January and it is a great movie to re-watch. Makers of erotic thrillers need to be careful, as that is a genre that, if not handled carefully, can quickly fall prey to silliness and excess think "Fatal Attraction".

Also, both films have a middle-aged female as the protagonist who becomes involved in covering up for the actions of a child in "The Deep End" a literal child, in "Swimming Pool" a figurative one.

Harry Jane Birkin Emilie Maddly Bamy Un ami Steve Eckardt Learn more More Like This. Purple Noon Crime Drama Thriller.

Swimming Pool Crime Drama Mystery. The Sicilian Clan Certificate: GP Crime Drama. The Last Adventure Certificate: M Adventure Drama.

Borsalino Crime Drama. Joy House Crime Drama Romance. Rocco and His Brothers Crime Drama Sport. Farewell, Friend The Leopard Drama History.

Any Number Can Win A Cop Crime Thriller. Taglines: Warm, wet bodies fresh in the sweet heat of loving. Edit Did You Know?

Trivia Harry's car is a Maserati Ghibli released in The screenwriter had planned to use a Lamborghini Espada but Maserati French's official merchandiser convinced the producers to use a Ghibli instead.

Goofs The Maserati Ghibli sports car is a V8 and should have 8 cylinders. Harry says it is a V8 with 4 cylinders when he tries to impress Jean-Paul at the end of his joyride.

Quotes Jean-Paul : You talk a lot about the others, but never a word about Harry. Marianne : Because there's nothing to tell.

Alternate Versions English version. As all the cast, except Paul Crauchet, were fluent in English the scenes were shot both in French and in English.

This version proves to be funny for the English-by-the-book used in the dialogue obviously a line by line rendition of the original French script.

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