Unashamedly trailing into Godard's footsteps ("A Married Woman"), Gilles' film may lack the iconic intensity of the great auteur's shots and his ultra-modernist editing, yet it contains enough to impress. First, it is Willy Kurant's cinematography, particularly in the color scenes, which orchestrates the flirt between surfaces and faces; then it is Méril's charm and gaze that mediates empathy with bourgeois retreat.
Can we live by a memory? With this sentence ends a movie that loves cinema as a remembrance of the cinema past, sending it to a present time, the time of this film, which unfolds through the intersections of narrators and time: the pre-death (life), death (poem) and the after-death (nostalgia) of its protagonist. A lyrical act of a filmmaker who knows that death is an act of living in cinema.
"Es la película de un amor. Un amor interrumpido por la partida, por la muerte. Un amor que es resucitado a partir del desciframiento obsesivo del pasado. Un pasado que ha sido breve, y que permanece opaco e inaprensible, como un crimen (...)" - Marguerite Duras.