From Behind (1999)
Frédérique's mother has died recently leaving her the family stud farm. She's never met her father, doesn't even know his name. But she finds it on the back of an old photo. She sets off for Paris. She stays with her gay dancer pal Marc. Marc and friends decide to go to their favourite gay bar... but it's men only. So Frédérique becomes Frédéric, an effeminate gay boy... Frédérique follows her father. Pierre Arroux is an art curator - and gay. She introduces herself to him, but as Frédéric. So while Frédéric is quite an awkward young man and an embarrassment to his father, Frédérique is secretly meeting with her old boyfriend now living in Paris..
The film establishes its central universe, introducing the protagonists into an escalating conflict. Directed by Valérie Lemercier, this opening movement establishes high visual and thematic stakes that set the narrative journey into motion.
The protagonists navigate escalating complications, ethical dilemmas, and formidable challenges. Starring Valérie Lemercier, Claude Rich, Dieudonné, the middle act intensifies dramatic momentum toward an inevitable turning point.
The dramatic arcs converge in a decisive climax, resolving interpersonal conflicts and delivering the auteur’s resonant thematic conclusion.
Valérie Lemercier
as Frédérique / Frédéric Sénèque
Claude Rich
as Pierre Arroux
Dieudonné
as Francis
Marthe Keller
as Christina
Patrick Catalifo
as Jean-François
Amira Casar
as Anne-Laure
Didier Bénureau
as M.Mulot
Alain Doutey
as Le patient FrançaisCinematographic negative, aspect ratios & laboratory mastering sheet
| Aspect Ratios | 2.39:1 |
|---|---|
| Camera Systems | Arri Alexa LF / Panavision Millennium DXL2 |
| Negative Format | 35mm / 65mm / Digital Master |
| Printed Film Format | 70mm / DCP Master |
| Sound Mix Formats | Dolby AtmosDTS:X5.1 Surround |
| Laboratory / VFX | Technicolor / Double Negative (DNEG) |
| Color Processing | Color (Rec.709 / DCI-P3 Mastering) |
| Official Runtime | 102 min |
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Weighted consensus from 100K+ verified global cinephile ratings
The pipe organ composition from Hans Zimmer at the edge of Gargantua is monumental. Nolan masterfully balances the vast coldness of relativistic astrophysics with the intimate, multidimensional bond of family. A transcendent achievement of cinema.
"Do not go gentle into that good night, Rage, rage against the dying of the light." Michael Caine reciting Dylan Thomas resonates throughout the entire odyssey. Pure cinematic grandeur.