As regular readers of my blog will have come to learn, Tom and I are big World cinema fans with Tom particularly keen on any new French films that come to our favourite art house cinema The Cornerhouse in Manchester.
Some of Tom's recommendations don't always turn out to be as great as he expected but The Big Picture, a French adaptation of Douglas Kennedy's American novel proved to be a winner for the pair of us. Directed by Eric Lartigau, the film is essentially about a successful lawyer who becomes a photographer via a complex mix of events which includes the murder of his wife's lover - who also has an interest in photography but can't indulge in it to the same extent as his well heeled friend.
The film manages to grapple with what seems, on the face of it, a fairly absurd plot but just about pulls it off to make a number of telling points, the key one being that you can achieve your artistic ambitions without quite realising how you're doing it - and sometimes the rewards for having true artistic freedom are frustrated by the consequences of your past. The Big Picture has a galloping plot (rare for French art house films) but leaves you pondering on a whole range of issues - stolen identity, artistic integrity, the pursuit of truth, money and art, wealth and boredom, and so on.
What was particularly interesting for me as a photographer was the audacious luck that the lawyer-cum-murderer central character (complete with his dead friend's stolen identity) managed to bring his way. If only all photographic assignments had such apparently successful endings.
The film starts the romantically dishevelled Romain Duris, previously seen in The beat that my heart skipped,






































