SunnyHello Nice effects though.

Marketic It's no definitive masterpiece but it's damn close.

filippaberry84 I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Logan By the time the dramatic fireworks start popping off, each one feels earned.

lasttimeisaw French author Emmanuel Carrère's sole venture into feature filmmaking by far, LA MOUSTACHE is adapted from his own novel published in 1986, a head-scratching story about a middle-aged French man Marc (Lindon), whose life starts to collapse after he shaved his trademark moustache on a whim, and everyone around starts to behave that they have never seen him in moustache, including his wife Agnès (Devos).So, under this presumption, there could be two possible explanations: either Agnès is right, so Marc must have some serious psychological issues should be treated with kid gloves; or, Agnès is lying, when having dinner at their friends', Agnès is accused as an incorrigible liar by her ex- boyfriend Serge (Amalric), which might insinuate that an underhand conspiracy theory is in the pipeline. Cinematically, it is rather an intriguing premise, however, in hindsight, as the film turns out to be an experiment completely open to each individual's own interpretation, Carrère knowingly oscillates between these two scenarios lest the plot would veer to either direction with no turning back.Take the example of the photo albums Marc finds, it is a trip to Bali years ago and obviously he is sporting a moustache in every picture, but, instead of pushing forward his proofs to Agnès or his friends, he chooses to withhold it until the album goes missing, if that's a slip of mind, later we clearly see his moustache in both the head-shots in his wallets and his passport, why not show them to contest his belief, or just visit his parents, who should know the truth, but no, because, it would channel the story into a dead-end, either Agnès is right or she is playing a bigger game to dupe him, either way, it would lose the mystical allure.So, out of wits to keep the suspense rolling, Carrère employs a brisk geographical shift to Hong Kong, where Marc aimlessly and tediously moseys on ferry rides, an economical transportation in a metropolitan city (which might be used to save a fair amount of cost in shooting whilst the crew could enjoy their vacation), so as to buy some time to let his moustache grow back, then, bang! Surreal events materialise again, and viewers have no sooner recovered from the bamboozling revelation than the film reaches its succinct finish line, admittedly, it is an in-your-face anticlimax.Masked as an existential fable, LA MOUSTACHE intrigues at first, but pretty soon loses its sway and resorts to absurd-ism and metaphysics, which could be an alternative to lift the bar, like Denis Villeneuve did in ENEMY (2013), but in this case, it only betrays the filmmaker's incompetence to concoct up anything could possibly give a plausible justification, a cheap cop-out always tastes bitter and gets under one's skin.

museumofdave Sometimes being puzzled is good--it creates time and space to think, allows a person to conjure answers and perhaps ask more questions; in their films, many French directors like to ask The Big Questions: Who Am I? Where Do I Fit In The Scheme of Things? How do I know someone really loves me? La Moustache, despite it's narrative peculiarities, does just this.La Moustache is a sort of intellectual thrill ride that begins with a simple premise: "Why did nobody notice that I shaved off my mustache this morning?" Simple premise but no simple answer. I was never bored watching this film: I was somewhat mystified, and admit to being a wee bit frustrated with what appeared to be an inconclusive ending...you may not feel that way. You may, as some viewers do, find the answer to this puzzle in the middle of the film. Do not, however, expect Casablanca, The Asphalt Jungle or even The Sound of Music. Some things are not designed to deliver entertainment or simple answers, and such things may often be treasured.

jotix100 Marc and Agnes are lovers who have been together for a while. They are comfortable with one another, and yet, there seems to be an undercurrent of frustration in the way they interact with each other. As the story begins, they are preparing to go out to a dinner with friends. Agnes has forgotten something. Marc seen in the bathroom, where he decides to shave his mustache. His new look is ignored by Agnes, as well as the couple they visit. Marc's new look is ignored by all, giving him a rare sense of reality. He even gets pictures taken years before where he clearly shows the mustache in question. Marc is clearly puzzled by a turn of events that make him doubt about things he has taken for granted. He begins to question himself, his relationship, his world, fleeing from it all. Marc takes refuge in the anonymous atmosphere of Hong Kong where he spends a day riding the ferries across Victoria's Harbor in search for answers. He finds some kind of peace in a humble pension in Lantau's island that has memories of a happier time for him, as well as Agnes.Directed by Emmanuel Carrere, based on his own novel, who adapted it for the cinema with Jerome Beaujour. The film poses a lot of interesting questions which are not easily answered in the film, which will throw off some viewers for the many questions raised but not answered. Like most intellectual French filmmakers, Mr. Carrere wants the audience reach its own conclusions. There are clues along the way that might be interpreted in different fashion by different viewers. What the director gets is an absorbing film in the tradition of Michael Haneke's "Cache" and other films that require involvement. Be prepared to do some thinking.Vincent Lindon's work is the main reason for watching "La moustache". He was at his best in this fantastic account of a man's quest to find out the truth about himself and his relationship with Agnes. The actor does a credible job with his Marc, making us care about this man. Emmanuelle Devos gives a good performance as Agnes, who also plays a complex role in the story. The two stars show good chemistry in their take of their characters. Patrick Blossier's excellent cinematography works wonders in the film, as well as Philip Glass' 'Concert for Violin' enhances the mood created by Mr. Carrere.

Charles Herold (cherold) I watched this movie because the idea was intriguing. I felt right away that it wasn't going to have much of an ending; it's not really the sort of story that would ever have a solid ending, unless it was an episode of the Twilight Zone, which it clearly was not meant to be.So I can accept the weak ending, and I'll even accept the analysis of one of the user reviewers here, Richard Burke (or was it Robert) whose analysis struck me as completely reasonable and well though out, and thus accept that the movie more-or-less makes sense.The problem is, this is a really boring movie. I don't know what the people who talk about it being "suspenseful" are thinking, because this movie moves like grass growing. It is so slow that after the first half hour, I put it on fast forward (the advantage of subtitles is you can watch a movie like that). Even at double the ordinary speed, it was still slow moving.