Maurice Pialat's portrait of contemporary France mocks prosperity as a substitute for social and sexual revolution. Nelly abandons her bourgeois friends and a steady relationship for the ... See full summary »
Dossignan is a zealous rural priest. The dean Menou-Segrais tries to keep him reasonable. But Dossignan will be tempted by Satan, then will try to save the soul of Mouchette, a young girl who killed one of her lovers.
An anguished foster child takes to mischief and lies as his foster parents do their best to love and care for him. But it might be too little, too late in this emotionally devastating portrayal of the orphaned child.
Coming to you as if from a dream half-remembered, two oneiric fantasies by the great Chilean fabulist Raúl Ruiz. First, a great guide - with pages torn out - for beginners, this picture has... See full summary »
Philippe Léotard embodies the role of the son, double on the screen of Maurice Pialat. For the role of the daughter-in-law, Pialat chose Nathalie Baye who was at that time the fiancée of Léotard. See more »
This is not the greatest film by Pialat, but is still far better than most others of its time. It was his third feature, and the first set in his native Auvergne. Monique, a woman in middle age, is slowly dying of cancer, while her husband Roger tries to cope with his feelings of desperation by chasing women. The scene with the girl trying on the yellow pullover in Roger's store is marvelous: he feels her breasts while she seems not very upset over this, or amused either. Philippe is the only one of their children who is still around, and he seems to be following his father in philandering. His marriage with Nathalie will be a rocky one if he can't settle down. Nathalie herself is intelligent, maybe a bit too much for Philippe.
Pialat takes such chances when he shoots a scene: see the opening with Monique and Philippe at home listening to Mozart and talking about family matters; it goes on almost ten minutes, dangerously long you might think, yet Pialat and the actors bring it off beautifully. Hubert Deschamps settles into his part so well, he hardly seems to be acting at all. Same for Monique Melinand and Philippe Leotard; only Nathalie Baye seems a little self-conscious at times. Nestor Almendros was the cinematographer, he had already worked with Truffaut and Rohmer. Pialat wanted available light whenever possible: this accounts for the occasional muddy moment in the film. Is La gueule ouverte available as a Region 1 DVD yet?--if not, why not?
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