You are never fully liberated from Auschwitz, 11 July 2016 Author: Red-125 from Upstate New York The French movie "À la vie" was shown in the U.S. with the translated title "To Life (2014)." It was written and directed by Jean-Jacques Zilbermann. The film is a Post-Holocaust saga, although it opens with scenes in Auschwitz that are truly horrific. Hélène (Julie Depardieu) and Lily (Johanna ter Steege) were friends in Auschwitz, and they managed to survive the death march from Auschwitz to Louslau together. A third friend, Rose (Suzanne Clément) was unable to walk, so they were forced to leave her behind. As it turned out, Rose survived until the liberation of Auschwitz. The three did not see each other again until 1962, when they come together for a reunion at a beachside resort in Northern France. We learn early in the movie that Lily divorced her husband after the war, and is living as a "free soul," with no permanent partner. Hélène and Rose both married concentration camp survivors. The plot of the film--based on the lives of three actual friends--revolves around their interactions during the reunion. No matter how much ice cream they eat, and how they display their new bathing suits, thoughts keep circling back to Auschwitz. They quarrel about tiny details which they remember differently. They revive horrible memories. It's clear that the reunion will change their lives, but whether the change will be for the better or for the worse is an open question. For reasons I don't understand, "To Life" caries a terrible IMDb rating of 6.1. Fortunately, we saw it as part of the excellent Rochester Jewish Film Festival. If we hadn't had "All-Event" tickets, we probably would have stayed home. This is a movie to be seen, not missed. Ignore the rating and seek it out. It's available on DVD, and it will work well on the small screen. See it!
即使有那么多的似曾相识，是枝裕和还是贡献了震慑人心的戏法。看似真善美的结局，是他给予残忍现实的最大善良。
体量上就感觉是小做一波，但这种片子拍出来确实自己开心啊，挺满意的
视听没有什么出彩的点，中规中矩，但是故事和表演都很棒，触及到心灵和感情，而且有一定的悬念不至于无聊，每个角色都塑造的既温情又立体，我个人是觉得不错。
3.8/抱着过剩的期待，注定只能剩下。是枝裕和的个人风格还是尤其的明显，宋康昊姜东元裴斗娜李知恩，我最喜欢的几位演员云集于此，摩天轮的戏份真的爱到心里，可惜李知恩还可以更好，但是看她一路走来真的很有进步了。虽然这一次并没有足够延续下小偷家族的内核，但是是枝裕和真的太温柔了，温柔的让人只看到了生育和堕胎的争议，温柔的让人只看到他们都是凡人，而非带着标签在社会生存的边缘人士。
不像是枝裕和拍韩国电影，倒是很像大陆翻拍《小偷家族》。
视听没有什么出彩的点，中规中矩，但是故事和表演都很棒，触及到心灵和感情，而且有一定的悬念不至于无聊，每个角色都塑造的既温情又立体，我个人是觉得不错。
感受到了导演对老姜的爱。
依然是熟悉的味道，即使是换了国家拍，还是属于是裕和的家庭伦理。
虽然我们没有奖，但是在群像戏里也算出彩了。
是好电影，但却不是是枝裕和的好电影，依然是标志性的细腻温情，相互搀扶拯救，但相较于之前的作品，却太轻太浅，可以理解为低配版《无人知晓》+《小偷家族》。
在《小偷家族》里哭断气的我，再看这部全程冷漠脸。
棒子国顶级一线阵容，故事差了点意思。加油吧，国际大导功成名就了还愿意各种尝试创作是一件好事
和大多数影帝一样，通常他们获奖的作品往往都不是最好的表现，宋康昊这个影帝就像轮值的，与他过往，诸如《出租车司机》《辩护人》中的表演相去甚远。
本来觉得剧情很平，很是枝裕和，直到我忽然间明白大叔为什么不见踪影。
从寄生虫到掮客，一部最佳影片一部戛纳影帝，宋康昊真是稳坐韩国国宝级演员的宝座。就本片而言，是枝裕和并没给观众带来太大的惊喜，倒也值得一看【三星半】
可以用失望来形容电影，狗血的韩剧剧情，是枝裕和在韩影的商业氛围里失去了自己细腻的特质，人与人之间情感交流在电影中荡然无存。
本电影是一个挺好的研究对象，对于宋康昊和裴斗娜这种高水准职业演员，在两个世界名导手中会呈现出什么样的表演状态。事实证明奉俊昊擅长塑造具有漫画感的人物，这一点在世界影坛可谓独树一帜。本片最大的问题是人物的悬浮。是枝裕和导演为了达到这一复杂主题的合理化，将几个主要人物塑造得过于美好。忽视了这些人物身上非道德的一面。每个人物似乎都有不得不走上拐卖道路的理由，但每个人物又几乎都拥有完美的道德观念啊，这两者是矛盾的。这会令我联想到黑泽明《七武士》中的农民群像，我猜测是枝裕和真正想塑造的是这样的一群人物。是枝裕和在影片前半段的每场戏中都塞满了人物前史信息，几次差点露怯。但好在还是没太影响。如果是枝裕和未来还是如此理想化的塑造他心目中的边缘人群的话，我想片子大概还会呈现出相近的窘相。
剧情的结构不错，再联想到最近的社会新闻。。。但影帝的表演真的没什么出彩。
水准还是一流。喜欢买者用母乳喂奶那场戏，很刺痛生母；裴斗娜感慨自己才是“掮客”，也很有趣。但是饼叔能拿影帝是他几十年演员生涯的肯定，单凭这部戏实在是难有说服力。另外故事的话，也其实有点差强人意。
某老六只会“嘁！”“嚇！”，拉低全片表演水平，像在看0几年的《周末大放送》，怎么都带不动。
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