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Loulou (1980)

6.8
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Reviews: 13 user | 19 critic

Pialat's portrait of contemporary France mocks prosperity as a substitute for social and sexual revolution. Isabelle Huppert abandons her bourgeois friends and a steady relationship for the... See full summary »

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Title: Loulou (1980)

Loulou (1980) on IMDb 6.8/10

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Cast

Cast overview, first billed only:
...
...
Guy Marchand ...
André
Humbert Balsan ...
Michel
Bernard Tronczak ...
Rémy (as Bernard Tronczyk)
Christian Boucher ...
Pierrot
Frédérique Cerbonnet ...
Dominique
Jacqueline Dufranne ...
Mémère
Willy Safar ...
Jean-Louis
Agnès Rosier ...
Cathy
Patricia Coulet ...
Marité
Jean-Claude Meilland ...
Jean-Claude, le gars du casse
Patrick Playez ...
Thomas
Gérald Garnier ...
Lulu
Catherine De Guirchitch ...
Marie-Jo
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Storyline

Pialat's portrait of contemporary France mocks prosperity as a substitute for social and sexual revolution. Isabelle Huppert abandons her bourgeois friends and a steady relationship for the unemployed layabout Depardieu. His charms include focusing his energy into sex. Written by <dbc@star.sr.bham.ac.uk>

Plot Summary | Add Synopsis

Genres:

Drama | Romance

Certificate:

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Details

Official Sites:

Country:

Language:

Release Date:

3 September 1980 (France)  »

Also Known As:

A vagány  »

Company Credits

Production Co:

,  »
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Technical Specs

Runtime:

Sound Mix:

Color:

(Eastmancolor)

Aspect Ratio:

1.66 : 1
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Did You Know?

Connections

Featured in Cinema Goes to Dinner (2005) See more »

Soundtracks

Hate you Baby
(Dina Chase (as D. Chase) - Jean-Pierre Sabar (as J.P. Sabard) )
par NOVELTY DISCO BAND
Disques Vogue. Editions Alpha
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User Reviews

 
good cast in a stale scenario
3 December 2010 | by (United States) – See all my reviews

Bored, restless housewife Isabelle Huppert leaves her brutish husband for an overage juvenile delinquent, played by Gerard Depardieu in one of the roles that made him an unlikely international sex symbol. The film is an uninhibited look at the seamier side of romantic Paris, but may be altogether too dark for its own good, and not only in terms of lighting: the script itself is often unforgivably vague. A talented cast gives the largely improvised non-story an almost documentary feel, but with no sympathetic characters (and with a distracting lack of motivation) the film rambles on interminably in no particular direction. In the end it amounts to little more than just another exercise in urban spiritual malaise, complete with stock footage of the cuckold husband blowing a lonely late-night saxophone in his empty apartment, with the TV flickering silently in the background. Not even the most opaque European art-house mood piece can support that kind of cliché.


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