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This Sweet Sickness (1977)
"Dites-lui que je l'aime" (original title)

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David is an accountant. He leaves town every Friday, pretending he is going to take care of his parents at their old people's home. But actually his parents are dead, and he spends the ... See full summary »



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Title: This Sweet Sickness (1977)

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Cast overview, first billed only:
David Martinaud
Claude Piéplu ...
Jacques Denis ...
Gérard Dutilleux
Xavier Saint-Macary ...
Michel Barbet
Véronique Silver ...
Madame Barbet
Annick Le Moal ...
Robert Dullier
Michel Pilorgé ...
Daniel Perche
Jacqueline Jeanne ...
Michel Such ...


David is an accountant. He leaves town every Friday, pretending he is going to take care of his parents at their old people's home. But actually his parents are dead, and he spends the week-ends converting a chalet. He intends to live there with Lise, a woman he knows and loves since childhood. But Lise has just married another and has a baby. David's mad love does not see those facts as an obstacle... Written by Yepok

Plot Summary | Add Synopsis


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Release Date:

28 September 1977 (France)  »

Also Known As:

This Sweet Sickness  »

Filming Locations:


Company Credits

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Technical Specs

Sound Mix:



Aspect Ratio:

1.66 : 1
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User Reviews

Good middlebrow movie-making, when not akin to a Hollywood psycho flick
27 July 1999 | by (toronto) – See all my reviews

The movie builds to an inevitably tragic climax, then - more than a little jarringly - director Miller literally rewinds the film back to the penultimate step in the drama, when Depardieu held his lost love with a vision of perfect romantic unity: the moment of fulfillment in which he'll presumably spend the rest of his deranged life. The movie for most of its length is intriguing as an escalating story of obsession, but never really gets a handle on Depardieu's problem, which makes the later developments akin to those you'd find in a Hollywood-type psycho flick, and not that much more restrained. His particular journey is less artistically interesting than the secondary structure of Miou-Miou's obsession with him and the other man's thing for her, which suggests a perpetual domino effect of misplaced ideals and dreams; however, this is never really played out and everything ultimately depends on the central story. When not letting fly, the movie has the restrained observation and visual taste of good middlebrow French movie-making and the overall air of wistful yearning and pain is pretty effective; the setting in the snow is especially striking.

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