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 »
Jean has been married to Francoise for years, but his relationship with his wife has been all but over for a long time. She's hardly ever around, always traveling to Russia for work, and ... See full summary »
A ten-year-old boy feels unwanted when his mother places him in a home for wayward children. He goes to a foster home where a family of workers finds him to be too much for them. When the ... See full summary »
Orgon is a man of property duped by the false piety of the penniless Tartuffe. Orgon takes him into his house, believing him a paragon of virtue. Orgon orders his daughter to reject her ... See full summary »
Raoul has best chances to become next boxing champion in light-heavy weight. For a bet he tries to beat through a door with his bare fist. He wins the bet, but his hand is broken, his ... See full summary »
Two whimsical, aimless thugs harass and assault women, steal, murder, and alternately charm, fight, or sprint their way out of trouble. They take whatever the bourgeois characters value: ... See full summary »
In an interwar France struggling with profound social and political change, 18-year-old Violette Noziere rebels against the constraints of her claustrophobic, working-class (and possibly incestuous) family, with troubling consequences.
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 unemployed layabout Loulou, whose charms include focusing his energy into sex. Written by
Pialat films people in extreme emotional situations, usually with several violent scenes. In La Gueule ouverte, he's dealing with the devastating effects on a woman's husband and son as she dies of cancer. In A nos amours, the teenage girl's sexual experimentation leads to violent confrontations with her family. Here we have a rather spoiled young woman who abandons her husband to take up with a sexy ex-con. Her motivation is a little cloudy, since Loulou is incapable of reading or discussing anything more challenging than TV shows; on the other hand, he's got a fabulous body (I wonder why Depardieu never made a sports movie to show off that physique--he would have been great as a rugby player).
The casting is impressive. Isabelle Huppert gives a committed performance as Nelly; her middle class reserve plays well against Depardieu's loutish energy. Depardieu plays Loulou with all the dynamism and charm you could want--see the scene in the bar, where he's stabbed in the gut, runs away and seeks treatment, then soon restarts with Nelly. Guy Marchand, with those coal-black eyes and distressed look, plays Nelly's husband beautifully; it's a fine repeat of their pairing in Diane Kurys's Coup de foudre.
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