Private Property


1h 32m 2006

Brief Synopsis

When they're about to put the family property on the market, young adult twin boys discover the real nature of the ties that bind them. The relation between the boys and their divorced mother is damaged, but not to the point of rupture. There is a lot of tension and the sons, jealous and suspicious,

Film Details

Also Known As
Nue Propriete
MPAA Rating
Genre
Drama
Family
Foreign
Release Date
2006
Production Company
Ciné+; Mact Productions; Playtime; Region Wallonne; Rtbf; SOFICA Cofinova; Sofica A Plus; StudioCanal
Distribution Company
New Yorker Films/Red Envelope Entertainment; Agora Films (Switzerland); Alfa Films; Alta Films; Bim Distribuzione; CinTart; Haut Et Court; Imovision; New Yorker Films; New Yorker Films; Peripher Filmverleih; Red Envelope Entertainment; Thunderbird Releasing

Technical Specs

Duration
1h 32m

Synopsis

When they're about to put the family property on the market, young adult twin boys discover the real nature of the ties that bind them. The relation between the boys and their divorced mother is damaged, but not to the point of rupture. There is a lot of tension and the sons, jealous and suspicious, don't want their mother to go on with the sale. This urges her to leave the property, a desperate remedy backed by her lover. Her absence triggers a confrontation between the twins.

Film Details

Also Known As
Nue Propriete
MPAA Rating
Genre
Drama
Family
Foreign
Release Date
2006
Production Company
Ciné+; Mact Productions; Playtime; Region Wallonne; Rtbf; SOFICA Cofinova; Sofica A Plus; StudioCanal
Distribution Company
New Yorker Films/Red Envelope Entertainment; Agora Films (Switzerland); Alfa Films; Alta Films; Bim Distribuzione; CinTart; Haut Et Court; Imovision; New Yorker Films; New Yorker Films; Peripher Filmverleih; Red Envelope Entertainment; Thunderbird Releasing

Technical Specs

Duration
1h 32m

Articles

Private Property - Isabelle Huppert in Joachim Lafosse's PRIVATE PROPERTY on DVD


Private Property, an intimate character drama that slowly reveals the tensions building under the inertia of a lazily dysfunctional broken family, is "the description of the collapse of a family unit," in the words of director and co-writer Joachim Lafosse. "All it takes is a shockwave, the possible sale of the house, for the whole edifice to come crumbling down and for the violence in the relationship between Pascale and her sons to be unearthed."

Isabelle Huppert is Pascale, a single mother who, ten years after her divorce from ex-husband (Patrick Descamps), still refuses to allow him to visit their rural home (a renovated Belgian farmhouse) to see their nearly-grown sons, fraternal twins Thierry and François (played by real-life brothers Jérémie and Yannick Renier). The film opens with Pascale asking their advice while models a new negligee, and later they share a bathroom while she showers, not bothering to even close the curtain. Given their close relationship and the fury over the divorce that Pascale single-handedly stokes (she blithely bad mouths him to the boys at the dinner table, her version of harmless small talk), it creates a perverse atmosphere for the boys to grow up in. Or in this case, not to grow up. They ostensibly attend college but their classes have the feel of afterthoughts, something to do when bored. Meanwhile Pascale keeps up a furtive affair with Jan (Kris Cuppens), a Flemish neighbor who keeps pushing her to go public with their relationship to her kids. Perhaps she understands all too well their inevitable reaction, especially when she reveals her plan to sell the house and buy a bed-and-breakfast.

The story has autobiographical roots. "I was personally confronted with this situation in my family," explains Lafosse in an essay that accompanies the DVD. "This is what gave me the idea of writing the story of two brothers who treat their mother as if they were her parents. And she finds herself in the strange situation of having to ask their permission to break free." According to Lafosse, he developed the script with Jérémie and Yannick Renier in mind. "From the start, when I began writing, I asked them to participate," he relates. "What I didn't know was that it would take seven years to make the film."

Jérémie Renier (star of Jean-Pierre and Luc Dardenne's L'enfant and La Promesse) plays Thierry, the hot-tempered blonde whose angry response to his mother's decision to sell the home is just another example of his childish sense of entitlement. Supported by his father's alimony and generous handouts, he even begrudges his girlfriend's job when it gets in the way of his spontaneous plans. Jérémie's older brother, Yannick Renier, is a less familiar screen face – his career has been largely on stage. His character, François, is more easy-going and less confrontational than Thierry, who tends to browbeat the submissive François. He's happy just shooting rats at the river with an air rifle, but he becomes more protective of his mother as Thierry becomes more insolent and aggressive in his rage. Yet in their scenes together, playing ping-pong and roughhousing like children (and even bathing together!), their natural, unforced byplay communicates a fraternal familiarity that grounds their relationship. "On the set, we tried to find an identity, then let ourselves go, knowing we wouldn't judge," remembered Jérémie. "Before shooting started, we spent a lot of time together to try and get back a sense of brotherhood." According to Yannick, "when the brothers had to establish their everyday movements, we thought about what we did when we were younger...."

Huppert, by contrast, was cast late in the process, long after the character was written. But she fills the role of the frustrated mother as if it was tailored to her. After a lifetime of treating them more like spoiled younger brothers than sons – refusing to set limits or provide boundaries until they've drifted into the lazy inertia of their present lives, all the while obediently making their meals and their beds – she's turned her children into dependent child-men. Now she's too timid to stand up for herself and her desires for an adult life with another man. As the tensions build to the snapping point, next to Jérémie Renier increasingly volatile and hostile Thierry, the petite Huppert looks more pale and fragile than ever.

Private Property is all about putting everyday moments under a cinematic microscope to find the toxic reality under unspoken thoughts and repressed feelings. Most scenes unfold in a domestic space and a familiar activity, whether it's the boys giggling and goofing while playing videogames in the living room or eating dinner at the family table with mom. Director Lafosse directs with a quietly intense focus, shooting each scene with an unmoving camera in unbroken takes. It's a nature study of the dysfunctional family unit in its native habitat and Lafosse's camera captures every behavioral nuance with cold clarity. Which is not say it's unemotional. These characters are driven by unchecked feelings pushed to extremes – fear, betrayal, fury – that build such force they threaten to break out of the increasingly claustrophobic frame. The film ends in a state of exhaustion, spent by such furious feelings that all these characters have left is a broken resignation.

New Yorker's DVD release features an anamorphic transfer of the film, with muted colors appropriate to the domestic spaces and scenes, and a 5.1 Dolby Surround soundtrack, in French with unremovable English subtitles. The DVD features the American trailer as its sole supplement but is accompanied by a fold-out insert featuring a brief essay by and interview with director Joachim Lafosse and brief production notes.

For more information about Private Property, visit New Yorker Films. To order Private Property, go to TCM Shopping.

by Sean Axmaker
Private Property - Isabelle Huppert In Joachim Lafosse's Private Property On Dvd

Private Property - Isabelle Huppert in Joachim Lafosse's PRIVATE PROPERTY on DVD

Private Property, an intimate character drama that slowly reveals the tensions building under the inertia of a lazily dysfunctional broken family, is "the description of the collapse of a family unit," in the words of director and co-writer Joachim Lafosse. "All it takes is a shockwave, the possible sale of the house, for the whole edifice to come crumbling down and for the violence in the relationship between Pascale and her sons to be unearthed." Isabelle Huppert is Pascale, a single mother who, ten years after her divorce from ex-husband (Patrick Descamps), still refuses to allow him to visit their rural home (a renovated Belgian farmhouse) to see their nearly-grown sons, fraternal twins Thierry and François (played by real-life brothers Jérémie and Yannick Renier). The film opens with Pascale asking their advice while models a new negligee, and later they share a bathroom while she showers, not bothering to even close the curtain. Given their close relationship and the fury over the divorce that Pascale single-handedly stokes (she blithely bad mouths him to the boys at the dinner table, her version of harmless small talk), it creates a perverse atmosphere for the boys to grow up in. Or in this case, not to grow up. They ostensibly attend college but their classes have the feel of afterthoughts, something to do when bored. Meanwhile Pascale keeps up a furtive affair with Jan (Kris Cuppens), a Flemish neighbor who keeps pushing her to go public with their relationship to her kids. Perhaps she understands all too well their inevitable reaction, especially when she reveals her plan to sell the house and buy a bed-and-breakfast. The story has autobiographical roots. "I was personally confronted with this situation in my family," explains Lafosse in an essay that accompanies the DVD. "This is what gave me the idea of writing the story of two brothers who treat their mother as if they were her parents. And she finds herself in the strange situation of having to ask their permission to break free." According to Lafosse, he developed the script with Jérémie and Yannick Renier in mind. "From the start, when I began writing, I asked them to participate," he relates. "What I didn't know was that it would take seven years to make the film." Jérémie Renier (star of Jean-Pierre and Luc Dardenne's L'enfant and La Promesse) plays Thierry, the hot-tempered blonde whose angry response to his mother's decision to sell the home is just another example of his childish sense of entitlement. Supported by his father's alimony and generous handouts, he even begrudges his girlfriend's job when it gets in the way of his spontaneous plans. Jérémie's older brother, Yannick Renier, is a less familiar screen face – his career has been largely on stage. His character, François, is more easy-going and less confrontational than Thierry, who tends to browbeat the submissive François. He's happy just shooting rats at the river with an air rifle, but he becomes more protective of his mother as Thierry becomes more insolent and aggressive in his rage. Yet in their scenes together, playing ping-pong and roughhousing like children (and even bathing together!), their natural, unforced byplay communicates a fraternal familiarity that grounds their relationship. "On the set, we tried to find an identity, then let ourselves go, knowing we wouldn't judge," remembered Jérémie. "Before shooting started, we spent a lot of time together to try and get back a sense of brotherhood." According to Yannick, "when the brothers had to establish their everyday movements, we thought about what we did when we were younger...." Huppert, by contrast, was cast late in the process, long after the character was written. But she fills the role of the frustrated mother as if it was tailored to her. After a lifetime of treating them more like spoiled younger brothers than sons – refusing to set limits or provide boundaries until they've drifted into the lazy inertia of their present lives, all the while obediently making their meals and their beds – she's turned her children into dependent child-men. Now she's too timid to stand up for herself and her desires for an adult life with another man. As the tensions build to the snapping point, next to Jérémie Renier increasingly volatile and hostile Thierry, the petite Huppert looks more pale and fragile than ever. Private Property is all about putting everyday moments under a cinematic microscope to find the toxic reality under unspoken thoughts and repressed feelings. Most scenes unfold in a domestic space and a familiar activity, whether it's the boys giggling and goofing while playing videogames in the living room or eating dinner at the family table with mom. Director Lafosse directs with a quietly intense focus, shooting each scene with an unmoving camera in unbroken takes. It's a nature study of the dysfunctional family unit in its native habitat and Lafosse's camera captures every behavioral nuance with cold clarity. Which is not say it's unemotional. These characters are driven by unchecked feelings pushed to extremes – fear, betrayal, fury – that build such force they threaten to break out of the increasingly claustrophobic frame. The film ends in a state of exhaustion, spent by such furious feelings that all these characters have left is a broken resignation. New Yorker's DVD release features an anamorphic transfer of the film, with muted colors appropriate to the domestic spaces and scenes, and a 5.1 Dolby Surround soundtrack, in French with unremovable English subtitles. The DVD features the American trailer as its sole supplement but is accompanied by a fold-out insert featuring a brief essay by and interview with director Joachim Lafosse and brief production notes. For more information about Private Property, visit New Yorker Films. To order Private Property, go to TCM Shopping. by Sean Axmaker

Quotes

Trivia

Miscellaneous Notes

Released in United States Spring May 18, 2007

Released in United States August 31, 2007

Released in United States on Video September 11, 2007

Released in United States 2006

Shown at Venice International Film Festival (Competition) August 30-September 9, 2006.

Released in United States Spring May 18, 2007

Released in United States August 31, 2007 (Los Angeles)

Released in United States on Video September 11, 2007

Released in United States 2006 (Shown at Venice International Film Festival (Competition) August 30-September 9, 2006.)