IMDb > J'entends plus la guitare (1991)

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Marc Cholodenko (dialogue)
Philippe Garrel (screenplay)
View company contact information for J'entends plus la guitare on IMDbPro.
Release Date:
7 March 2008 (USA) See more »
For those who were young, living under the delusions of love and soft drugs in Paris, May 1968 - even if the guitar is still playing, they can't hear it any longer. | Add synopsis »
Plot Keywords:
1 win & 2 nominations See more »
Daily Briefing. Garrel and Nico, New Offscreen and More
 (From MUBI. 8 February 2012, 5:19 AM, PST)

User Reviews:
A post-New Wave love journal that hasn't lost its freshness See more (2 total) »


  (in credits order)
Benoît Régent ... Gerard

Johanna ter Steege ... Marianne
Yann Collette ... Martin
Mireille Perrier ... Lola
Brigitte Sy ... Aline
Anouk Grinberg ... Adrienne
Adélaïde Blasquez ... Linda
Philippe Morier-Genoud ... The Stepbrother
Edith Boulogne ... The Grandmother
Thomas Salsmann ... Marianne's Son
Alexis Piccolo ... Ben
Chantal Trichet ... Aline's Friend

Directed by
Philippe Garrel 
Writing credits
(in alphabetical order)
Marc Cholodenko  dialogue
Philippe Garrel  screenplay
Jean-François Goyet  adaptation

Produced by
Bernard Palacios .... producer
Gérard Vaugeois .... producer
Original Music by
Faton Cahen 
Cinematography by
Caroline Champetier 
Film Editing by
Sophie Coussein 
Yann Dedet 
Production Management
Jérôme Dassier .... assistant unit manager
Charles Tible .... production manager
Eric Zaouali .... unit manager
Second Unit Director or Assistant Director
Hubert Engammare .... first assistant director
Patrick Piccolo .... first assistant director
Sound Department
Martin Boissau .... boom operator
Alain Garnier .... sound mixer
René Levert .... sound
Camera and Electrical Department
Bruno Dubet .... grip
Alain Faure .... still photographer
Michel Gallois .... first assistant camera
Joël Germaneau .... electrician
Patrice Guillou .... first assistant camera
Editorial Department
Nathalie Hubert .... assistant editor
Music Department
Faton Cahen .... musician: piano
Olivier Do Huu .... music recordist (as Olivier Dô Hùu)
Other crew
Marie-Christine Damiens .... public relations
Michele Davy .... unit administrator
Bruno Resnais .... production intern
Bertrand Severin .... production assistant
Nico .... dedicatee

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
98 min

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5 out of 8 people found the following review useful.
A post-New Wave love journal that hasn't lost its freshness, 28 February 2008
Author: Chris Knipp from Berkeley, California

Philippe Garrel is a French director of cult status whose work has not been much seen in the US. Interest among film buffs certainly must have grown with the showing of Garrel's wonderfully atmospheric evocation of 1968-69 'Regular Lovers'/'Les amants réguliers' (2005) at the New York Film Festival, with a brief New York theatrical showing two years later. After re-watching Regular Lovers last year I wrote that it is "the kind of film that burns itself into your memory and keeps coming back."

And this is a French cinematic dynasty. Philippe's brother Thierry is a producer; his father Maurice is a veteran actor with well over a hundred credits (recent notable ones: 'The Red and the Black,' Dercourt's 'My Children Are Different,' 'Kings and Queen,' and 'Regular Lovers'); and his son Louis, the young poet and central character of Regular Lovers, is the hottest young French screen actor in more senses than one. Americans saw Louis with Eva Green and Michael Pitt in Bertolucci's 2003 'The Dreamers.' But what are Philippe Garrel's important films? I don't know; the promoters of the Film Comment Selects series at Lincoln Center say 'J'entends plus la guitare' ("I No Longer Hear the Guitar") is "arguably Philippe Garrel's masterpiece."

Masterpiece or not, this film (which won the Silver Lion in Venice) is a complete contrast to the over-three-hours-long, epic-feeling black and white 'Regular Lovers'--and yet memorable in its own way. It's quieter and more intimate and more obviously autobiographical--almost like a loose compendium of fragmentary diary entries from a man who had many lovers and one good friend, a painter (Martin, Yann Collette, a veteran actor who happens to have a sunken and blind left eye). The man is Gerard (Benoît Régent). One of the women is Aline (Brigitte Sy, mother of Louis Garrel). But most important in Gerard/Philippe's life is Marianne (Johanna ter Steege), a luminous exotic Nordic lady drawn to drugs and dirty longhairs (unseen in the film but described with distaste by Gerard) who say "Yeah man!" and "cool."

The film begins with Marianne and Gerard in Positano, on the Italian Riviera, with Martin and his friend Lola (Mireille Perrier). They go back to Paris where Gerard spends every evening smoking hashish at Martin's place talking about Marianne. Gerard's fascination with her is obvious, but there are no love scenes. One day Marianne meets another man and wanders off.

Marianne is, as is well-known, the stand-in for Nico (stage name of Christa Päffgen) the singer of the Velvet Underground and Warhol "superstar" with whom Philippe Garrel had an ongoing relationship for over a decade. In the person of ter Steege, Nico/Marianne's appeal is obvious. Nico herself was in seven of Garrel's films in the Seventies. This one was made three years after her death--and Marianne like Nico is described as dying while riding a bicycle.Gerard meets Linda (Adélaïde Blasquez) Aline (Brigitte Sy), and then Adrienne (Anouk Grinberg), but Marianne remains in Gerard's world, the love of his life.

Scenes of 'J'entends plus la guitare' over twenty years later still evoke the Sixties and Seventies in content and style. They are so simply staged they're arresting. A woman comes to the door and says she's a friend of someone else. Apparently she moves in, just like that. The next thing you know Gerard is in the bath and this new woman brings him a plate of food which he forks down hungrily. He gets up, hastily towels off, puts on a shirt while still wet. The woman spreads two sheets on the bed. They get under them, clothed, and propped up on their elbows lie looking into each other's eyes. This is how the beginning of a new relationship is described.

When Gerard's girlfriend has a baby, they eat at a table with a whole family, but nobody's identified. Closeup of a young teenage boy looking on with eager happiness as the food is dished out. Most of the scenes are one-on-one conversations (unlike much of 'Regular Lovers,' which is more collective and symphonic). This is like an autobiographical meditation, verging, the FCS blurb suggests, on "psychodrama." Garrel is an heir to the Nouvelle Vague who captures life in the raw with lovely cinematography and interesting and attractive people but not very sophisticated or self-conscious technique. His films (so far as I've seen them so far) can be irritating and slow but are curiously endearing. Think Warhol, but without the titillation and voyeurism, and with a European straight male sensibility, particularly here. Even without the presence of Louis (who was around eight when this was made) this is still a fresh, youthful kind of film-making. It may seem self-indulgent, but it doesn't age.

Shown as part of the series, Film Comment Selects, at the Walter Reade Theater, Lincoln Center, New York (February 25, 2008).

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