Allison Scott The movie starts off with a shy woman who does not even really talk to her sister and just got out of jail. But we find out that her family and her husband disowned her but for what we do not know. Her sister was still a child when their parents would not even let her talk about the sister that went to jail. It progresses to show her start to open up to some people like her sister's college. She tries to get a job but when they asked her why she was in jail and she tells them that she killed her child they do not want to even give her a chance. But finally she is able to work a hospital as a receptionist but she used to be a doctor so this is a big adjustment. The director of this movie is Philippe Claudel, he is also the writer. He Won the BAFTA Film Award for: I've Loved You So Long in 2008, and was nominated for the BAFTA Film Award for Best Screenplay for: I've Loved You So Long also in 2008. In the Berlin International Film Festiival he won the Prize of the Ecumenical Jury for "I've Loved You So Long." And for the same movie he won reader jury of the "Berliner morgen-post" and was nominated for the golden Berlin bear. Two ideas found in the movie are of course love. We see it from how a mother could sacrifice her life and how others will see her to prevent her child from ever having to suffer, she did not care that she would go to jail or how others would think of her all she cared about was that her child would not have to be in any pain. We also see from the movie how we can punish ourselves. We see this from how she does not talk to anyone or really expect any love or acceptance from anyone even her sister. Some movie buff scenes were when she first got to her sister's house and was exploring and the camera angle from above her. Also the camera work when toward the end of the movie when they are fighting is very interesting. I enjoyed this movie because of its unusual plot. A mother who kills her child in not often even thought of.

rooprect Any Led Zeppelin fans out there? Either way, I wanted to start by drawing attention to the confusing translation of this film's title into English. The French phrase "Il y a longtemps que..." is better translated as "It's been a long time since..." It implies a sense of nostalgia and possible regret or loss. So instead of being called "I've Loved You So Long", it should've probably been "It's Been a Long Time Since I Loved You". Even that translation is imperfect, so you may just have to listen to the Zeppelin song to get what I mean.Why is this important? Because the entire film is done with a haunting sense of nostalgia, regret & melancholy as the proper title should imply. But also, as the title should imply, it's not necessarily depressing or final. I thought the film pulls it off brilliantly. The subject is very dark & gloomy, yet the film doesn't descend to being dark & gloomy itself. Instead, like a good murder mystery, it allows us to peel away at the dark truth while not getting dragged down ourselves. This is done by keeping us out of the main character's troubled past until the very end. As a result, we don't form prejudices that would taint our objectivity.And that's what this film is about: society's prejudices. Not in a overt way, but with subtlety the way director Clint Eastwood likes to do ("The Unforgiven", "Gran Turino", "Midnight in the Garden of Good & Evil"). Films like this challenge us to see 'villains' in a different light, and they expose society's folly in labeling them thus.In this film, Kristin Scott Thomas plays a woman who, for cloaked reasons, is discarded by society. Her unwillingness to explain herself only deepens the disconnect. The motives for her bizarre behaviour remain a mystery until the end, forcing our imagination to remain on high alert throughout the entire film. Without any car chases, gunfire or monsters, this film still manages to create a great atmosphere of suspense & anticipation. In that regard it's similar to "Five Minutes of Heaven" (2009), "Leaving Las Vegas" (1995) or the obscure Japanese flick "Shiki-jitsu" (2000), all excellent films that derive their suspense from slowly peeling away the psychology of a troubled character.Kristin's performance is simply amazing. It would be easy for an actor to play the role as a victim, a depressed person feeling sorry for herself, but no. Kristin plays it with an air of strength and quiet, desperate dignity. And in the end we realize that's exactly how it should be. Don't miss the chance to see this great film!

stephanlinsenhoff Il y a longtemps que je t'aime. Juliette leaves prison after 15 years: received at the airport by her sister Lea, for a time as guest with her colors-of-Benetton-family. Slowly we learn what happened: a gesture, a look, a word here, a sentence there. But only in the last movie minute we are told what happened, a help to die. Who decides this gesture of termination: the Greek cliff of Tarpeia, the vikings look at the newborn, Martin Luther, Adolf Hitler or todays brain scanning of the unborn: "Rich prospective parents can already afford to have their unborn child's brain scanned for traces of possible future mental weakness"; S Zizeks 2010-345. A few people in the movie seem to 'understand' Juliette. But do not. One example is her probation officer, a victim of committed suicide. Does he sense her real reason of the murder, not told the why? The reason lies under Juliette's pillow: by chance of hurry falling onto the floor and picked up by the younger of the two adopted children: like this Lea gets to know the happened truth. Also the man of respect, Michel, does he really know, having teached prisoners, 'how it is': does he? Does grandfather Papy Paul, lost his speech of power: has silence a possibility of understanding? The most honest is the man, willing to give her the first work. But: "Get out of here", when she answers: "I killed my child". At the cheerful dinner party she is asked where she had been all the years: "In prison", responded with hysterical laughter of social sadism. As we do not know the truth until the last moment, we share Lucs, the fathers fear: will Juliette commit a second murder, one of the girls? The explaining end is for the sister and us an explanation but no answer. Has she permission and who gave her the permission to ease her and her sons pain with the help of death. In Juliettes case her son could not ask. Juliette: "The worst prison is the death of one's child. You never get out of it" She did not defend herself at the trial: sentenced for the 15 years. The German discussion after the hadamartime of 1945, when (again) was proposed this time for a 'begrenzte' Euthanasie (W Catel Nuernberg 1962) is a journey between Scylla and Charybdis. At its core it is an individual question of the voice of conscience. Wallis Simpsons grandmother advised: "Concience is like a mirror you must look into it at least once a day", quoted in the Edward Morrow 1965 television interview. As long we are able to contact this organ that helps not only to know but to know that we know. What has to change basically is our attitude (a good example of change on its way is Peace Corps. They search and practice at the core of themselves to renew the basic of humanity – beyond where they mirror themselves in those who are everything else but able, outcasts). But as long disability is a case of pity and false goodness and not a mirror for development for each other – the pity of the Juliettes never can be true interest. In gratitude Karl König 1902-166, a fighting for runner against the 'soft' death. Il y a longtemps que je t'aime.

[email protected] I find it impossible to comment on this film without addressing the premise which underlies the entire story. Before I get to that, let me say that Kristin Scott Thomas and Elsa Zylberstein, the two principals, are excellent, and Phillippe Claudel's direction is superb. Kristin Scott Thomas for the first time in her long career (to my knowledge) is made to look very plain. If she is wearing any makeup at all, it is intended to downplay, rather than enhance, her considerable beauty. Zylberstein, whom I've never seen before, plays the much younger sister of Ms. Thomas's character, and she is lovely and lively in contrast to the general drabness and troubled countenance of her elder sister.Juliette Fontaine (Ms. Thomas) has just been released from 15 years in prison for the murder of her son and is taken into the household of her sister Lea (Ms. Zylberstein). It's relatively easy to guess the premise long before it is revealed: Juliette was a doctor who gave her young son a deadly injection to relieve his suffering from a painful and certain death. The part that's difficult -- I would say impossible -- to believe is that Juliette never spoke up during her trial to explain that it was a mercy killing and never told any member of her family or any friend why she killed her own child.The story only comes out because Lea accidentally discovers a picture of the child with a loving poem to his mother and a lab report which enables Lea, with the help of a doctor friend, to understand that the child was on the verge of death and in terrible pain. As I've said, I it strains credulity to imagine that Juliette would conceal the secret in court. But it defies belief that she would not tell her sister, who loves her, or her brother-in-law, who is decidedly nervous about having her in their house with their two adopted children. Despite this central flaw, "I've Loved You So Long," is well worth seeing. The cast is strong from top to bottom, and this is among Kristin Scott Thomas's most outstanding performances. The film is in French with English subtitles. For those who may not know it, Ms. Thomas, although English, has lived in France for many years. Still, early in the film, Lea apologizes for Juliette's "accent," explaining that she lived in England for a long time before the family returned to France.