Benedict_Cumberbatch Young writer-director Rodolphe Marconi introduces us to 18 year-old Simon (the extremely handsome and talented Gaspard Ulliel, "A Very Long Engagement"), who brings a girl he just met on a train, Louise (Mélanie Laurent), along with him to visit his parents and sister for a holiday in the country. As the mysterious Mathieu (Thibault Vinçon), Simon's unrequited love, reappears, Louise and Mathieu develop a liaison of their own, and we contemplate Simon's morbid sadness as dark secrets are uncovered."The Last Day" is a very personal, slow-paced, sensual and tragic story. It's very French in its aesthetics (which I love) and mood, and Marconi owes great part of his film's power to the amazing talent of Ulliel, who says more with a single look than most of today's young actors with a thousand words. In spite of his first bad move in Hollywood with "Hannibal Rising", I believe Ulliel is destined to become an international star (and if he doesn't, that's also fine, as long as he keeps picking daring roles in great films in his homeland). The soundtrack is also eclectic and memorable, and Marconi even reserves "the improvised, sudden musical scene" that's a trademark of some contemporary French directors, like François Ozon and Christophe Honoré. It could seem out of place and even ridiculous, but works beautifully here. Not a film for everybody, and ultimately depressing; but a memorable, poignant experience nonetheless. 9/10.

Chris Knipp Another nice little recent film from France that lacked the wattage to get into American theaters. People will look at it now, because lead actor Gaspard Ulliel's strong presence and savage faun look have made him a star. He has shone in such films as Téchiné's Égarés (Strayed) and the upcoming Hannibal Rising that exploit his wild look, his animalistic air of danger. He is frequently seen as frightening and independent. He is sweet as the boyfriend in A Very Long Engagement, though. The Last Day shows him off better as an actor because here he is almost always on screen, but is allowed to be hesitant, mysterious -- the essence of a film that holds back its meanings and makes us guess what's going on. Simon is delicate, thoughtful and kind, a manchild and a slightly maladroit creature who detaches by filming and photographing the world. In playing Simon, Ulliel reveals admirable restraint. He shows how an actor must use he physical equipment. His looks are striking, but what counts is that he can do such different things with them.Simon (Ulliel) is a young arts student. On the night train to his family's Christmas party he picks up a girl who comes along and then quickly takes up with someone who seems to be Simon's former flame. Simon sleeps with (along side) her, but can't have her. And he's been left out of the know because despite being all of 18 he still isn't aware of something important about himself. Rodolphe Marconi's film is nicely understated, never dwelling on a scene too long, stingy with dialogue and scornful of flashy effects. Ulliel's delicacy is essential to these qualities. So is something inaccessible about him that helps keep his somewhat pathetic situation from ever seeming sentimental. Mélanie Laurent as the girl and Christophe Malavoy as the head of the household help round out an impeccable cast.The Last Day is full of a dry French tact, and escapes being dreary (if only just) by the characters' composure and fortitude. Simon is an athlete (swimming, tennis), but also a good sport in everything--and despite his breathtaking ease in the pool, he has a jerky little walk. What good manners he has! He is always there in deep close-ups, bashful and quiet. Yet we feel his hurt all the more deeply because it isn't acted out. Bruno Todeschini simmers. Nicole Garcia is like a more ravaged Rampling. There's nothing not to like except the ditsy pop songs with English lyrics. Fortunately at a crucial late scene an elegant John Lewis piano solo takes over.

gradyharp Rodolphe Marconi ('Love Forbidden') is a director and writer to watch. He has a signature style already (he is quite young in the industry) and knows how to use that sensitivity to tell touching stories. LE DERNIER JOUR or THE LAST DAY is a mood piece, spare on dialogue, misty in its depiction of young emotional feelings, challenging in its play with time devices, and ultimately very satisfying for those who enjoy the French manner of film making.Simon (the very handsome and gifted young actor Gaspard Ulliel of 'A Very Long Engagement') boards a train bound for the coast where he is to spend time in his family's seaside cabin. Most of his ride is spent gazing out the windows at the misty countryside, telling us more about this lonely, lost, vulnerable young eighteen year boy than a thousand words. On the train is a young girl Louise (Mélanie Laurent) who seems to be shadowing him. When Simon arrives home he is met by his loving mother Marie (Nicole Garcia), his sister Alice (Alysson Paradis) and his father. Louise joins Simon as a guest in his home and his family thinks the two are a couple. Though they sleep in the same bed, Simon's mind and longing are for a lad who lives in the lighthouse, Mathieu (Thibault Vinçon). Simon visits Mathieu, with Louise not far behind, and though we feel a kinship between the two boys, Louise forces her attention on Mathieu and Simon becomes a third party. In a telling moment when the three are in a pub Louise insists that Simon and Mathieu kiss, and that kiss tells a lot about the current state of mind of both boys. Simon becomes isolated, longs for Mathieu who has moved on from their past relationship, an emotional level which is culminated in a visit to Mathieu's home where Simon, alone on Mathieu's bed, re-visits the passion and lust and love for Mathieu in a scene of radiant beauty.Simon's parents argue at all times and this leads to the discovery of a previous affair his mother had, an affair which holds secrets that drive a stake into Simon's relationship to Louise and to his mother's lover who as he visits the mother uncovers significant mysteries. The story ends tragically in a coda suggestive of the beginning of the film. It is stunning.For some the sparse dialogue may prevent the storyline from driving clearly, but in the hands, eyes, and body of Gabriel Ulliel words are wholly unnecessary. If there were no other reason to see this very sensitive film, having the opportunity to observe the talented Ulliel would be sufficient. Recommended viewing, in French with English subtitles. Grady Harp

W de Bruin I recently saw this movie on the International Filmfestival in Rotterdam and was wondering if someone knew who did the soundtrack. I have this song humming in my head, but cannot find the title and performing artist(s)... The movie is about a young French boy who's being followed on the train from Paris to his home on the coast by a girl. So he brings this girl home with him and his parents assume they are boy and girlfriend. When the girl is introduced to a friend of the boy she starts to fancy him more and the boy starts to feel lonely. It looks like she is using him. She sleeps with him, but has sex with his mate. When you think you have figured it out, there comes a nice twist in the story! I liked it and of course the music!