The cinematography of a beautiful film & the acting of a compelling drama, without being either. Is it that? We get to a point in our lives where it becomes clear just how miscast we are? Some cinematic embodiment of that bitter middle-aged existential disconnect? I could get behind a film like that, I really could. If the characters weren't all so unforgivably emotionally immature... Made for a tedious watch. 2.75
The beginning made me think that this would be the first Garrel I would somewhat enjoy. I got enticed by the discussions and their context. War, love, home politics. And then it started feeling formulaic to me, which decreased my interest quite a bit, and the scenes started to detach from the whole. Really liked the end scene though.
This film is about loneliness in relationships and family, emptiness, changes, about love and finding our own purpose and destiny; filled with melancholy, and probably a few moments of nostalgia for the old revolutionary days. Strong acting, that magic connection between the characters is there, excellent Jean-Pierre Leaud. Beautiful b&w analogue cinematography and minimalist use of music. Excellent!
A film in the most classic Nouvelle Vague tradition centered around the figures of two friends, a friendship faintly drafted, both looking for love in their own peculiar ways whilst still unable to love. Love as a leitmotif, that that is lust, carnal love, is here paraded as an intellectual study. Destiny or destination? Who cares. The whole disquisition rings hollow. The affair feels insubstantial.
The 1st truly mature movie that I've seen from Garrel. Such refreshing change from his usual experimentation films. Through relationships and emotions he's able to show us his characters' changes and discoveries. Maybe Garrel needed all of those experimental films to get him to this point, but regardless it is good to see some solid grounded work from this man who clearly has things to say about the human condition.
A Horror=life.Léaud looks a dead man&other stairs,streets,cars=zombie.his friend works hard to escape from limbo,to discharge his entropy to young girl,much younger girl,babies with engraving his raw wrinkles.coz he's living.Not dead yet."adulty isn't nice".i guess its a real motive,but no gain.easy solution is exactly to use young actors,son as his revival like other films.but i respect this sweetnessless gross one
L'évident plaisir de retrouver, de film en film, les emblématiques et précieux personnages de Philippe Garrel, toujours un peu en instabilité chronique entre une existence hasardeuse et bancale, un environnement personnel et sociétal exécrable et de pressantes et durables aspirations d'équilibre et d'harmonie... www.cinefiches.com
After first 15 minutes my attitude towards the movie was roughly the same as the main characters attitude towards life. After all it wasn't that bad, but amount of nonsense expressed by the character played by Léaud was close to what one can find in Godard's socialist movies from late sixties. Speaking of sixties - the movie looked like it was created thirty years earlier than it actually was.
Ce disciple de Godard distille un cinéma estimable, mais aussi parfois l'ennui... dont ce film précisément. Il admet - avec une grande honnêteté intellectuelle - ne jamais être arrivé au niveau de son maître. Un été brûlant était un film plus captivant, mais il faut dire que Louis GARREL, le fils de Philippe GARREL, est plus captivant que J.-P. LEAUD vieillissant ...