Suzanne is 15 and is having sex with many boys, just for fun, but did not manage to really love one of them. Her family does not understand her. The father does not like her behaviour. When... See full summary »
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 »
Mabel, a wife and mother, is loved by her husband Nick but her madness proves to be a problem in the marriage. The film transpires to a positive role of madness in the family, challenging conventional representations of madness in cinema.
In 'Gegen die Wand' Cahit, a 40-something male from Mersin in Turkey has removed everything Turkish from his life. He has become an alcoholic drug addict and at the start of the movie wants... See full summary »
Ten years of Marianne and Johan's relationship are presented. We first meet them ten years into their marriage. He is a college professor, she a divorce lawyer. They say that they are ... See full summary »
19-year-old Tomek whiles away his lonely life by spying on his opposite neighbour Magda through binoculars. She's an artist in her mid-thirties, and appears to have everything - not least a... See full summary »
Suzanne is 15 and is having sex with many boys, just for fun, but did not manage to really love one of them. Her family does not understand her. The father does not like her behaviour. When he leaves home, the mother becomes a little bit neurotic. And Suzanne's brother Robert, begins to beat her as a punishment... Written by
In the sequence with the American, Suzanne's outfit changes from a one-shoulder black dress with white stripes trimming just the top of the bodice, to a one-shoulder black&white striped top with a black skirt, and back again. See more »
[seeing that her daughter was nude]
You could put on a nightgown. It's disgusting to sleep like that.
See more »
For many, the lack of a defined storyline is maddening, often resulting in a less than satisfying experience. Almost stream-of-consciousness in its approach, Maurice Pialat's À Nos Amours does not appear to have much story structure, but the story is most definitely there and is related with a subtlety not often found in modern film.
Bonnaire's portrayal of Susanne is brilliant (as others have said), and her almost wistful sadness permeates the performance. In one scene, her father (played by Pialat) says, "You never smile anymore," indicating the transformation of Susanne from innocence to experience. The men in her life are shown only for the time she is with them. There is neither introduction upon their arrival nor explanation as to their departure. Pialat uses this method to show Susanne's lack of emotional investment in these temporary romances.
The only men who do return are her father, her brother, and Luc, her one real love. It is when she is with these men that she shows her true self, rather than the detached uncaring girl who sleeps around in an effort to replace them. The dialogue drives this film. There is little music, save the inspired use of Klaus Nomi's "The Cold Song". The sad wailing of Nomi's pseudo-operatic vocal against the opening credits of Susanne in the pulpit of a boat is a wonderful moment.
Long out of print, this film is now available on DVD. It is deserving of a look by the discerning cinephile who may have missed it 25 years ago.
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