Diagonaldi Very well executed

Micitype Pretty Good

SparkMore n my opinion it was a great movie with some interesting elements, even though having some plot holes and the ending probably was just too messy and crammed together, but still fun to watch and not your casual movie that is similar to all other ones.

CrawlerChunky In truth, there is barely enough story here to make a film.

andrea-malaguti-64 Well written by Christine Argot, well shot by Claire Denis, and very well acted by Juliette Binoche; but the main character irritates.

Ed Cohen I paid to see this-because of the strong cast, I suppose. Never before were sex scenes in a French film unintendedly alienating. Avoid it!

Red-125 The French film Un beau soleil intérieur (2017) was shown in the U.S. with the title Let the Sunshine In. It was co-written and directed by Claire Denis.Juliette Binoche portrays Isabelle, who is an artist. Isabelle is looking for love, but also looking for sex. In fact, she tells a friend that the only way she can climax when making love with one man is to think to herself, "He's a bastard." (Which he is.) Why would she stay with this man? She's looking for love in all the wrong places. That's the problem with the film, and probably why it has a terrible IMDb rating of 6.2. I might have given it a rating of 6 or 7, but Binoche is such a great actor that she earns the movie an additional point. Even if you think Juliette is foolish and misguided, Binoche makes you believe that she is that woman. You can decry her mistakes, but you can't dislike the portrayal. (Of course, it doesn't hurt that Binoche is so elegant and beautiful.)So, if you don't think you'd like a movie about a neurotic French artist, stay away. If you want to see what great acting looks like, see Un beau soleil intérieur.P.S. There's a long article about director Claire Denis in the May 28th issue of The New Yorker. However, the interviewer concentrated on Denis' next film, not this one.P.P.S. Can you recognize the old, overweight clairvoyant who appears at the end of the movie?

Turfseer Despite the overwhelming positive critical response, there were a few critics who took French director Claire Denis to task for Let the Sunshine In, in French "Un beau soleil interior," best translated into English as "a beautiful sun inside." Written with co-writer Christine Angot, "Sunshine" stars the iconic Juliette Binoche as Isabelle, a divorced abstract painter who can best be described as "love-starved." A few female critics were angry that Denis depicts Isabelle as a woman who defines herself solely through her relationships with men. That wouldn't be so bad if the men depicted were an interesting lot-unfortunately they are not. What's more, Isabelle's back story is gravely lacking-we find out little about her professional life as a painter as well as the nature of her relationship with a 10 year old daughter (whom we meet only very briefly mid-narrative). Perhaps the most worthless review of Let the Sunshine In is the highest rated on Metacritic (a 100)-by Justin Chang writing in the LA Times who terms "Let the Sunshine In" a "sublime comedy of sexual indecision." He's right about Isabelle's sexual indecisiveness-but where is the comedy? Clearly Denis treats her beleaguered protagonist with kid gloves-she's really the woman with the "beautiful sun inside." She might be a "glutton for punishment," but in the end it's really the men who are at fault here (and a sad bunch they are indeed!). Perhaps potentially the most interesting man that Isabelle tries to hook up with is an oily banker whom we meet first (in the opening scene they're having a rather unsatisfactory sexual encounter). The banker's crime is that he wants an intimate relationship but will not give up his relationship with a wife to whom he's been married for many years. Denis unfortunately is loathe to build any suspense in her inert plot, so our frustrated banker makes a lame attempt at the art of stalking by plying Isabelle with a bouquet of flowers. He's unceremoniously given the boot by our lovesick protagonist and that's the last we hear of him. The rest of the Isabelle's potential suitors need little more description. They include an actor, Isabelle's ex-husband, a working class schlub and an art curator. Unlike the arrogant banker, their shortcomings amount to a coterie of dating misdemeanors: they're basically all a bland bunch and simply unable to commit. Finally Isabelle decides to go to a "professional" for advice after so many failed attempts at love. He turns out to be as bad as Isabelle's aforementioned love objects. It's Gerard Depardieu as a "medium," whose generalized "psychic" predictions prove as lame as their source-another abject mediocrity who believes in his own BS. Like the entire prior narrative, the medium goes on and on as the credits roll. Is Claire also mocking Isabelle for her gullibility? If she is, it's gentle mockery as it's already been established that the men here are the "butt" of the over-extended joke. Perhaps Denis can be forgiven for her feminist bias and her gentle ribbing of the male sex-but her main shortcoming here is an aesthetic one. Despite a good deal of smart, sophisticated dialogue and Juliette Binoche's performance (infused with verisimilitude), it's Denis' inability to build suspense and present a protagonist with an internal arc that displays a modicum of change.