One night at the cinema, Pierre reaches for out to take Anne's hand. She is annoyed and rebuffs him. He feels rejected. This moment begins the story of the disintegration of a couple... ...
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One night at the cinema, Pierre reaches for out to take Anne's hand. She is annoyed and rebuffs him. He feels rejected. This moment begins the story of the disintegration of a couple... Pierre and Anne live in Paris with their two-year-old child Louis. After the night in the cinema it is clear that Anne is distracted and the small gulf between them seems to widen as time goes on. Lunches, evenings out with friends, there's obvoiusly something wrong. One night after a party, Anne tells Pierre that she is in love with another man. Although her confession is not surprising, Pierre's reaction is. He seems to accept it as a fact of life and refrains from asking the most burning questions. However, as Anne continues to see the other man, Pierre's feelings become more violent and it begins to dawn on them that some thing intangible has happened that can't be put right. Written by
An astonishingly accomplished film - Auteuil and Huppert have done nothing better. Auteuil's performance as Pierre is a measured descent into madness. As an ageing soixante-huitard with a love-rival, he tries to hold onto the idealism of his relationship with Huppert's Anne, succeeding only in compounding the confusion and hurt inevitable through his own unchartered humanism. Huppert is the perfect foil for this, a discreetly neurotic idealist herself, trying to conquer her own confusion beneath the surface and simply increasing Pierre's frustration. An acting masterclass.
Vincent provides unblinking coverage of the story as it, literally, unravels. His contributions are subtle: Vertigoesque colour symbolism that informs the psychology of the story (he uses blue, grey and dowdy colours for the men and brighter colours, predominantly red for the women) and sparing music, only topping and tailing the piece with the theme of a suite of variations - a quiet but entirely apposite gesture. Its realism, violence, vitality and unselfconscious intelligence are supremely marshaled in what must be the finest French film I've seen. 9/10
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