- Rated: Not Rated
- Run Time: 1 hours, 32 minutes
- Video: Color
- Encoding: Region 1 (USA & Canada)
- Released: February 19, 2008
- Originally Released: 1984
- Label: Kimstim
- Packaging: Keep Case
- Aspect Ratio: Full Frame - 1.33
- Aspect Ratio: Widescreen - 2.35
- (Unspecified) - French
- Subtitles - English - Optional
- Additional Release Material:
- Interviews: Interview with Star Pierre Arditi on the Making of the Film and on Working with Director Alain Resnais
- Trailers: Original Theatrical Trailer
Performers, Cast and Crew:
Film Comment - 03/01/2008
"The most outwardly spiritual of all the director's films....It is also among his most masterful in its complex narrative structure and literary sophistication."
French director Alain Resnais (HIROSHIMA, MON AMOUR) directs this candid exploration of love and mortality. When Simon (Pierre Arditi) suffers a nearly fatal seizure, it throws his entire life into new light. It also makes him reconsider his relationship with his loving girlfriend, Elizabeth (Sabine Azema). Strong visuals and effective performances help ground the film's swirling philosophical profundities.
Description by Kino on Video:
From Alain Resnais, the award-winning French director of such cinematic masterpieces as Night and Fog and Hiroshima, Mon Amour, comes Love Unto Death, his moving follow-up to the highly successful Life Is a Bed of Roses. Made during Resnais's mid-career renaissance in the 1980's, Love Unto Death is a tightly constructed meditation on the nature of love and death. Pierre Arditi and Sabine Azema (both of Life Is a Bed of Roses) star as Simon and Elizabeth, an affectionate couple happily in love until Simon has a sudden and seemingly fatal seizure. After miraculously surviving, Simon becomes obsessed with the possibility of his own death. The couple tell their close friends Jerome and Judith (Andre Dussollier and Fanny Ardant), clerics who have their own interesting opinions on the subject...
In Love Unto Death, Resnais dresses his lead actors in symbolic colors, uses striking musical interludes (by Hans Werner Henze), and adopts strong formal devices to explore both philosophical and cinematic themes. The result is an underrated gem by one of international cinema's most talented and acclaimed directors.