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Le Pont du Nord (1981)

Le pont du Nord (original title)
Not Rated | | Adventure, Crime, Drama | 24 March 1982 (France)
Young unhinged female ex-con with a motorcycle helps a sickly young homeless woman in red discover what the map of Paris she took from her gangster boyfriend leads to.



(scenario), (scenario) | 3 more credits »


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Cast overview:
Jean-François Stévenin ...
Benjamin Baltimore ...
Le Max au couteau
Steve Baës ...
Le Max au manteau
Joe Dann ...
Le joueur de bonneteau
Mathieu Schiffman ...
Un Hongrois
Antoine Gurevitch ...
Trois garçons
Julien Lidsky ...
Trois garçons
Marc Truscelli ...
Trois garçons


A woman recently released from prison and a strange young female street urchin keep running into each other on the streets of Paris and finally become companions in a very strange and very weird mysterious adventure that includes a secret map of Paris, and murky figures from the criminal world. Written by Joe Kulik <jkulik919@gmail.com>

Plot Summary | Add Synopsis


Not Rated | See all certifications »




Release Date:

24 March 1982 (France)  »

Also Known As:

Le Pont du Nord  »

Filming Locations:


Box Office

Opening Weekend USA:

$5,333, 24 March 2013, Limited Release

Gross USA:

$14,735, 14 July 2013
See more on IMDbPro »

Company Credits

Show more on  »

Technical Specs

Sound Mix:


Aspect Ratio:

1.37 : 1
See  »

Did You Know?


Marie refers to the Game of the Goose (Jeu de l'oie), a french children's game that goes back to around 1597. See more »


References The Big Country (1958) See more »


Composed, arranged and performed by Astor Piazzolla
(Disque Carosello)
See more »

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User Reviews

About fictions and steps that pave the way out
30 January 2016 | by See all my reviews

I saw this in memory of Jacques Rivette who passed away the other day, a wandering soul who paved the way for so many cinematic walks.

Here he retraces steps he had already taken before, two girls daydreaming a life of adventure around Paris in Celine and Julie, a grid of fictions and elusive conspiracy unfolding across the city as he favored since his very first. There are watchers throughout the city, a satchel full of newspaper clippings - stories within stories - and a map that points at symbolic reality.

The deliberate obliqueness - the daydreamed sense - is of course always Rivette's tool of suspending burdensome logic but we don't really cross beyond here to something alive, we spend a bit too much time stuck in the map. He traces these steps without the freshness of a first time, without making his way finally to a clearing that will open up a sense of meaningful horizon.

The part that captivates me is the one that echoes Celine and Julie. Two girls once more, one reading from a book and summoning the other, brash one as her fairy guide in a world of fictions and rituals, both of them lovely. It's the sense of reverie in the walking around; for Rivette - a cinematic flaneur - the city has to be walked in order to yield its insight. The insight is in the train tracks that lead out, atop the Arc, in the construction developments at the outskirts of Paris where, now at the outskirts of fiction, the world is a mass of gaping and colorless structures. It's one of the most roaming films.

The last scene is a container on its own right for Rivette's purpose and unlocks the whole; a mock karate fight where the opponent is unseen, there are set motions and steps to take, it accomplishes really nothing, except the fictional enactment loosens up the spontaneous experience of playing in this way, which can only take place because story has been exhausted and we have finally arrived at the end of the maze. Or is it the shape fiction takes when unburdened anymore by any plot about money? Or does it escape from the fact that someone has just been murdered? In the French semiotic sense these mean one and the same, layers of an onion.

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