Sorry Angel

    Sorry Angel


    Jacques is a writer living in Paris. He hasn't turned 40 but already mistrusts that the best in life is yet to come. Arthur is a student living in Brittany. He reads and smiles a lot and refuses to think that everything in life might not be possible. Jacques and Arthur will like each other. Just like in a lovely dream. Just like in a sad story.

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    • Vincent LacosteArthur Prigent
    • Pierre DeladonchampsJacques Tondelli
    • Denis PodalydèsMathieu
    • Adèle WismesNadine
    • Thomas GonzalesMarco
    • Clément MétayerPierre
    • Quentin ThébaultJean-Marie
    • Tristan FargeLouis
    • Sophie LetourneurIsabelle
    • Marlène SaldanaL'actrice


    • 90

      Vanity Fair

      A chewy, handsomely staged novel of a movie, Sorry Angel (whose much better French title translates to Pleasure, Love, and Run Fast) contains moments of piercing intelligence and heartbreaking beauty. It’s an epic diptych look at two lives converging, one in many ways just beginning, the other faltering to a close. I was absolutely in love with it—until the very end.
    • 90

      Los Angeles Times

      What's bracing about Sorry Angel is that it refuses to allow the specificity of its characters — specifically drawn and superbly played — to be obscured or flattened by the drama of terminal illness. Neither man is made nicer or more palatable than he has to be.
    • 90

      The Hollywood Reporter

      While it has visual energy to spare, the movie is more relaxed and less flamboyantly playful than most of Honore’s other films, unfolding with naturalistic grace — precise but unfussy framing, fluid camera movements — and fewer New Wave-y winks and nods.
    • 85


      Honoré’s deliberately paced, willfully unsentimental character study is like the yin to the yang of last year’s Cannes Grand Prize winner, “BPM.” Whereas Robin Campillo’s ACT-UP drama argued that the personal was political, and did so with lightning-bolt urgency, Honoré’s film is a more subdued rumination on community and connection.
    • 80

      The Telegraph

      Though the film resists easy categorisation, it often tumbles along like queer screwball, which chimes with its original French title: Plaire, Aimer et Courir Vite, or Give Pleasure, Love and Run Fast. It’s a fine manifesto, and Honoré’s film excels at all three.
    • 75


      Sorry Angel doesn’t strain from too much ambition; it’s a sharp snapshot of two men at pivotal moments in their lives, and ends on a note not too different from the one it starts on. But that cycle is central to its gentle intellectual flow.
    • 67

      The A.V. Club

      The film has some lovely beats, and good chemistry between its leads.
    • 67

      The Film Stage

      Shot in gorgeous turquoise and cerulean blues by that fine cinematographer, it is often a remarkably beautiful film and, with that suggestion of real experience, an inevitably sad one. Such qualities might not be enough to entirely disregard any feelings of familiarity, but they might just be enough to forgive them.

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