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Movie Info


A.O. Scott(New York Times): In a concise 77 minutes, "Jealousy" provides a uncommonly full – and also an intriguingly incomplete – portrait of a group of struggling artists while no-longer-entirely-young men and women.
Joe Neumaier(New York Daily News): Quiet moments hind big decisions are where the faculty lies in this absorbing French spectacle.
Ignatiy Vishnevetsky(AV Club): Philippe Garrel's movies feel like soul stories: delicate, enigmatic, and haunted ~ dint of. some indelible, unnameable presence, which a viewer be possible to't help but suspect is the instructor's own past.
Farran Smith Nehme(New York Post): "Jealousy" has a meek melancholy that's very acceptable.
Alan Scherstuhl(Village Voice): Vital and powerful even when its characters feel scraped of health/vitality, Philippe Garrel's latest finds boho Parisians facing the ends of marriages, public business, and the feasibility of bohemian entity itself.
Keith Uhlich(Time Out New York): In comparative estimate with near-impenetrable Garrel efforts like Regular Lovers (2005) and Frontier of the Dawn (2008), Jealousy cuts undeviating to the heart.
David Noh(Film Journal International): We've seen it wholly before, too many times, in Paris, in dark-and-white or color: This minute adds nothing to an already overstocked genre.
Godfrey Cheshire( "Jealousy" is the good-natured of slight, academic, self-satisfied drill that preaches only to the converted.
Mike D’Angelo(The Dissolve): All the identical, there are many pleasures in Jealousy, that runs a brisk 77 minutes and trades besides in wispy, glancing observations than in melodramatic confrontations.
Harvey S. Karten(Compuserve): A gratifying enough look at how a mirthful-go-roundelay leads three people to possess fits of jealousy.
Trevor Johnston(Radio Times): Chic now exasperating, it's somehow quintessentially French – suitable not in a good way.
Leslie Felperin(Guardian): It's certainly of the atmosphere and cool in a new-New Wave fashion, but really, what's the cape?
Nigel Andrews(Financial Times): The outline is patchy; later scenes search during the term of a purpose. But there are searing truths too.
Laura Clifford(Reeling Reviews): director Philippe Garrel ("Regular Lovers") uses his uber-brooder son Louis for the re~on that the pivot for a typically French carousel of morphing wildly picturesque relationships.
Nick McCarthy(Slant Magazine): Due to its rather pure and unburdened perspective of network relations, it's a plausibly palm and fingers-me-down portrait accessed from the grade of view of a young nursling.