As if a time-capsule, a red Carrera traverses urban or suburban milieux crossing borders in a trip to the twilight zone of History's fallen idols. From May68 to the reactionary cocoon in a consumer society vacated of meaning, the discourse of suicide is both literal and metaphorical. Garrel's acoustics of subtle movements in everyday-life matches gorgeously composed minimalist shots open to sad synecdochies of sorts.
Philippe Garrel is the castor oil of french cinema. Not pleasant going down, but brilliant it what it achieves most of the time. Here, you have two mega-pros laying it down for the camera. Sure, it rankles at time (Garrel's films often do), but it does so without prentending to be anything more than a series of observed interactions within the frame of a motion picture.
Two stars for the cool red Porsche. Otherwise, one of the worst films EVER. Stiff artificial dialog for most of the movie (ps I'm French FWIW). Totally irrelevant dialog about drugs and also about Mai 68 (May 1968, time of upheaval in France). Learned nothing, enjoyed nothing (other than the red Porsche driving nice roads), pure waste of a movie. Only stuck to it to see if a miracle would somehow happen. Nothing! (((
Sentimental, nostalgic trip about loneliness, love and struggle adapting to ever-changing reality. Also, this is a film about the 60s, the revolutionary days. About people, who had to forget about their ideals - or suffer life trapped in the past. I personally met such people, here in Poland, people who after the fall of communism couldn't or didn't want to change and adapt. Difficult topic, handled in a subtle way.
Garrel has a knack (and I don't know how he does it) for making mundanity—endless drives, long walks, lengthy silences—compelling. Of course, it helps to have Deneuve playing a woman whose insecurity about aging shows how little she values herself once she perceives that her beauty's ebbing. It isn't, of course, which makes her sadder. For me, the true star is Daniel Duval, a ferocious enigma with devastated eyes.
There's a maturity developing in Garrel's work. This film takes all of his earlier experimentation and uses those lessons to craft a more grounded and cohesive narrative. The storytelling is a bit dull here, but still it is a remarkable step forward. Great acting on display as well as Garrel's usual strong visuals and camerawork. It's not a film I will ever revisit, but it has strong merits and many will enjoy it.
Grew on me. On the one hand, nothing irritates me more than (morose, slightly petulant, often French) "cinematic" emotional immaturity. On the other, maybe they embody it so I don't have to? Disillusionment, after all, isn't hard to relate to. ('68 being a pretty justifiable source thereof, so fair enough re their pouty.) Lesson: being a "grown up" is like being in high school, but with less life left in you. 3.5
Like a meditation that flatlines periodically! The precipitation of the unspoken existential crisis its main theme, but as it does not forget to focus on charm and remembrance (the 60's revolution, Blondin - to me his mention was incidental rather than a central pivot) or to dwell on the dull back and forth transition of Beauvois's character from lover to wannabe protégé, it kept me interested.
Performances are key in this subdued film about a young man involved with an older woman and who takes up with a former sixties radical pondering both his own identity and relevance while basking in the somewhat failed dreams and ideals of the other two. Deneuve, Duval and Beauvois all give strong turns here.
A sad, poignant meditation beautifully composed. Deneuve shows her intelligence for doing this and makes herself all the more beautiful. Yes the lead looks a bit like Lou Reed and listening to the sound track I was thinking it seems from another generation,which is apt, considering the subject matter; melodies, instead of the dreaded 'sound design' you get now,then the credits; it's John Cale, ha ha, perfect!