Beautiful, strong-willed Kira (Alida Valli) is torn between two men (Rossano Brazzi and Fosco Giachetti) while she courageously defies the authoritarian rule of post-revolutionary Russia. Her passionate struggle for the right to her own life burns at the core of WE THE LIVING. A Scalera Films Production/Directed by Goffredo Allessandrini/From the novel by Ayn Rand/Released by Duncan Scott Productions, Inc. 174 Minutes/Black & White/In Italian with English subtitles. Copyright 1994 - Duncan Scott Productions, Inc.

Patrice Chereau, the acclaimed French director of opera and theater, follows his grand period drama Queen Margot with this gorgeous but jagged portrait of dysfunctional adults and broken relationships in contemporary Paris. A group of old acquaintances whose friendships have become strained over the years reunite for the funeral of their mentor. Chereau drops us in the midst of things from the opening moments, leaving us to sort out the layered editing and rich soundtrack while catching up with a story that keeps leaping forward. The widescreen film is shot with a handheld camera, and the jittery, nervous energy and abrupt editing wind up the already tense atmosphere. But even as Chereau eases up from the uncomfortably in-your-face intimacy of the claustrophobic opening scenes on the train, emotions ooze like open wounds and unresolved conflicts bubble over. Former French idol Jean-Louis Trintignant, who has aged into an awesomely understated performer and a fascinating screen presence, leads a cast of edgy young actors, including Queen Margot stars Vincent Perez (as a depressed transsexual) and Pascal Greggory (as the group's tentative spokesman). It's a sharp, intelligent, restless film that recalls such recent French dramas as Late August, Early September and My Sex Life (or How I Got into an Argument). It doesn't offer any clear story or easy resolution, just a messy but potent portrait of the crossed lives of adults still looking for themselves. -Sean Axmaker.