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.
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 »
Emmi, a woman truly in the second half of life, falls in love with Ali, a Berber guest worker more than ten years younger. When they both decide to marry, everybody seems to be against them... See full summary »
Rainer Werner Fassbinder
El Hedi ben Salem,
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 »
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 »
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 »
Sometimes I feel like killing myself, you know? Sometimes I'm sick of living.
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Let me get it off my chest now: I'm very disappointed in the lack of notice given Pialat's films. Why am I only the fifth person to review À nos amours, and not the 500th? This is the sixth feature by Pialat, and it is a masterpiece. The travails of Suzanne and her family have universal implications; if you think only of her relations with her brother Robert--violent at times, yet often tender and half-incestuous--that's enough material for a film in itself. Some people are bothered by the promiscuous nature of Suzanne's love life, how she just doesn't behave like a regular teenage girl should. I have met a girl like her.
About two-thirds of the way through, we are confronted with a scene of astonishing virtuosity: the party at the family home, into which erupts the absent father, played by Pialat himself. The script the actors had been given gave no notice of this plot turn; it is fascinating to watch eight actors dealing with this incredible event--no one blows the scene, no matter how dumbfounded they must have been. For about ten minutes, we get pure acting, or reacting, however you want to put it. This is the kind of film event that makes movies worthwhile.
Bonnaire is tremendous, it's one of the greatest debuts in film history. Pialat as the father is great, all the more remarkable in that he had never acted before. The dimple scene is wonderful. Dominique Besnehard has to bring off an unsympathetic role as the brother, and he performs very well.
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