Michel is a young technician in the fledgling TV industry and is due for military service in two months at the time of the Algerian War. Juliette and Liliane are inseparable best friends, ... See full summary »
Francois comes back to his home village in France after more than a decade. He notices that the village hasn't changed much, but the people have, especially his old friend Serge who has ... See full summary »
There are two parts to this film: sequences of life in the fishing village of La Pointe Courte (a government inspector's visit, the death of a child) alternate with others following a ... See full summary »
Jean Lerat de la Grignotière is as full of himself as his name is long. Heeding (somewhat reluctantly to be true) the call of the Motherland he goes to the barracks where he is to ... See full summary »
Claude de Givray,
Christian de Tillière,
A study of minor events in the adolescence of a boy growing up in small towns. Daniel lives with his grandmother and, after one year of high school, has to go to live with his mother in the... See full summary »
Michel is a young technician in the fledgling TV industry and is due for military service in two months at the time of the Algerian War. Juliette and Liliane are inseparable best friends, and aspiring actresses, who hang around outside the TV studio. Michel invites them in to watch, flirts with them both, and dates them separately and together. When Michel goes on a holiday to Corsica, just before he is drafted, the girls follow. Written by
With A bout de Soufflé (and other Godard films), Adieu Philippine is in fact the only film that deserves the 'Nouvelle Vague' label term and that kept the promises of this generation, of a new way to approach cinema. (Truffaut looks very classical in comparison). A real liberation of the cinema's language : variation of feelings, tones (sentimental comedy, Algerian tragedy, boulevard, etc...) on the screen followed by variations of technique's shooting (television, improvisation, etc...), of montage or setting, a jubilating firework as an hymn to joy of life, imagination. For this and other points, Adieu Philippine has the role in French cinematography that in Italy Otto e mezzo may have played though in another way and much more secretly. Rarely characters have been given such importance, such vibration in every day's little things. The close-up on a young 'stupid' girl's despair dancing face to you is one of the numerous unforgettable moments of this still refreshing poem sometimes worried by the threat of death.
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