29 May 2026
TUNER (LE VIRTUOSE) ***
Most any film with Dustin Hoffman is a winner. This one is almost another ‘duo’, like “Midnight Cowboy” or “Rainman”, though his younger partner – an excellent Leo Woodall – the ‘tuner’ of the film, occupies most of the story.
This surprising film, which starts off as a sweet yarn about old Hoffman (wonderfully funny and tender at 88), who runs a piano-tuning business with his protégé played by Woodall, takes us all over New York on calls to various colourful clients. They make a terrific team, like a father and son. Woodall’s character has an extraordinary sense of pitch – he was once a piano virtuoso until a hearing impairment ended his career. He has painfully heightened hearing, making him intensely perceptive to sounds. This fact will soon turn his quiet life upside down.
I won’t get into details – to keep the surprises – but let’s just say that the film evolves into a deeply human thriller, due to some chance circumstance and a developing financial crisis. The plot twists in many directions – into the world of serious music, a budding love affair, a caring family circle, and some vicious criminality. There’s even a definitive juncture where Jean Reno (“Le Grand Bleu”) appears in the film. Written and directed by Daniel Roher, the story balances harmony with chaos, art with crime, and romance with suspicion. It’s a spine-chiller with heart, one that will linger with you.
L’OBJET DU DELIT ***1/2 (vo French)
What a brilliant idea to look at the continuing MeToo movement within the context of a production of Mozart’s opera, “The Marriage of Figaro”.
The exceptional French scriptwriter, actress and director Agnès Jaoui takes us into the early preparations for this prestigious event, starting with the casting. The conductor, played with panache by Daniel Auteuil has to concede to certain choices, due to a wealthy donor, and also has to make a decision on a colour-blind casting, which will obviously provoke some racial remarks and unease.
Jaoui knows how to accommodate with both intelligence and sly humour the many tensions that arise within any artistic production. There’s both the arrogance and worries of some of the stars, the different nationalities, the ‘vulgarity’ (hilarious!) of the decor, and the completely opposing views surrounding a possible incident of sexual harassment, depending on one’s age and culture.
She presents all sides and characters with shrewdness, compassion and a deliciously tongue-in-cheek attitude. There is the flamboyant, pompous Italian baritone of the old school; there are the adamant feminists with strict rules of comportment and “safe spaces”; and there is the mature singer, played by Jaoui herself, who tries to calm things down. There are also many supporting roles that are startling, pivotal characters.
This clever, delightful gem about a chaotic production is better than any opéra-bouffe!
Superb **** Very Good *** Good ** Mediocre * Miserable – no stars
By Neptune
Neptune Ravar Ingwersen reviews film extensively for publications in Switzerland. She views 4 to 8 films a week and her aim is to sort the wheat from the chaff for readers.
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