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ڈرامہسال2001دورانیہ1h 41mIMDb5.9

Trouble Every Day

ڈرامہخوفناکیسنسنی خیز

Two American newlyweds in Paris experience a love so strong, it almost devours them.

ابھی دیکھیں

ٹریلر

کاسٹ

Claire Denis

Director

Vincent Gallo

Shane Brown

Tricia Vessey

June Brown

Béatrice Dalle

Coré

Alex Descas

Léo

Florence Loiret Caille

Christelle

Nicolas Duvauchelle

Erwan

Raphaël Neal

Ludo

José Garcia

Choart

Hélène Lapiower

Malécot

Marilú Marini

Friessen

Aurore Clément

Jeanne

Bakary Sangaré

Le Gardien de nuit

LG

Lionel Goldstein

Le Réceptioniste

Céline Samie

La Femme de la brasserie

AC

Arnaud Churin

Le Routier

SB

Slimane Brahimi

L'Ami de Christelle

Alice Houri

La Jeune fille du métre

Véra Chidyvar

La Femme du Métro

Claire Denis

Writer

JF

Jean-Pol Fargeau

Writer

تبصرے

10 تبصرے

leen yyApr 24, 2026

One of my fav films , Masterpiece.

#Vee#Jul 18, 2024

user7164193544460Jul 15, 2024

Dounia MansarJul 15, 2024

Family Of FaithJul 15, 2024

Addis ZeweduMay 29, 2023

source: Trouble Every Day

MasyaMasyitahMay 23, 2023

This film might be one of the worst films ever made, it is an absolute outrage. However, the grotesque scenes filled with blood and people eating each other both literally and figuratively is not the reason. The film being extremely slow is not the real reason either (even if I asked myself if there is a reclaim department somewhere to get the 100 wasted minutes of my life back). No, the single most disturbing thing about this film is that it leads absolutely nowhere. There is not even a single scene in this film that have connection to another one whatsoever. A lot of film was wasted on showing us events which are never picked up again but left alone hanging out to dry together with a baffled audience. Provoking? Yes! But just showing a lot of skin and gore and hope that the audience will forget and forgive the infantile plot and script is more provoking than the story itself.

Mahdi🤜🤛May 23, 2023

I first heard about this film after it apparently "scandalized" movie-goers at its debut in Cannes. British media predictably (and ridiculously) denounced it as yet another euro-trash art-house shocker made for the cause of provocation alone (the left-wing Guardian being as puritanical as the more conservative papers). In one way this must have surprised Claire Denis as "Trouble every day" deals with the same subject matter as her other films (at least the ones I've seen), i.e. desire. Sure, there's a couple of quite disturbing scenes, but they fit in so well with the rest of this slow, superbly paced film as to not distract from the overall sense of peaceful melancholy that pervades it. I realise that it might sound contradictory to describe a film about flesh-eating sexual maniacs as peaceful, but the long, lingering shots together with the amazing Tindersticks soundtrack create just that: a beautiful, haunting and serene vision of the boundaries between love and desire.

Diaz265May 23, 2023

I don't know where to begin with this movie, it's just such a drag of a movie that seemingly goes on forever and focus on all the wrong things for the more part. I tried watching it one 2 other ocassions but I just couldn't get into it so I switched it off and put on something else. On the third I decided to just stick with it so I've at least watched it once, and kinda wished I hadn't. A lot of long boring everyday scenes of people doing much to nothing or walking from point a to b or Vincent Gallo playing the fiddle (metaphorically speaking... yes just that, not once but twice in the movie we witness this, luckily nothing too graphic there at least). There is a little gore but only in a couple scenes so the poster if a all bloody woman is a little misleading if you ask me. And those scenes tbh feel a bit random, but then I suppose everything in this movie does, and there doesn't seem to be much point to anything (although I'm sure it does I just didn't have the patience or desire to translate some potential symbolisms as it was just boring simple and plain). Beatrice Dalle is the only redeeming factor and why I give this a 2 instead of a 1.

Mme CeesayMay 23, 2023

Beatrice Dalle is a hypnotizing presence to me. Clair Denis has an ability to cover and penetrate the skin. She is a Jarmusch who can put his abstract angst in estrogenal terms, with as much cinematic competence. There is a tendency to compare her to Catherine Breillat. That is a mistake we guys make because both see as women. But Brellait is all about damage, the inevitability of damage. Denis on the other hand is about hope as an urge among desperate urges. They couldn't be more different. These two women, Dalle and Denis have an understanding and make something here. It is not comfortable. For many of us, I can imagine it will be destabilizing because this really could be a deep as real pain. This is not a horror movie. It is a love story, like "Realm of the Senses," or "Pillow Book," but instead of allowing us the safety of "watching," it forces us to inhabit the fear of passion. And. And it is from a woman who, for instance, knows that when you photograph skin, it is the movement of hair that matters, and when you get intimate, the hairs must be those finest, those ones that only a lover sees and makes move. Gallo is an intelligent actor. He is unafraid to go to these places. In a way, this is a woman's "Brown Bunny." He helps a lot. In the background are clueless beauties, men and women, who are destroyed, like the cars in an action movie's chase scene. Dalle made this the same year she made "H Story," which I count as one of the purest of film abstractions. It worked in part because she pulled nervous sweat and menstrual blood into those abstractions. Here she does precisely the opposite. She really does need to be celebrated. You may want the much tamer adventures in this domain: "cat People," Or even the lesser "The Hunger." We need to have a way to indicate a commercial airliner arriving that is better than the shot used here — and 100,000 other places. The song over the end credits is a pretty marvelous appreciation of Frank Zappa, whose earliest song provides the title. That music had the same sort of visceral, destructive purity. Ted's Evaluation -- 3 of 3: Worth watching.

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