7.1/10
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16 user 22 critic

Late August, Early September (1998)

Fin août, début septembre (original title)
A story about the transition from late youth to early maturity, the film follows several friends and lovers as they come to make decisions on how to live their lives--getting a job more in ... See full summary »

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2 wins & 1 nomination. See more awards »

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Cast

Cast overview, first billed only:
...
Gabriel
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Anne
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Adrien
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Jenny
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Jérémie
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Lucie
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Véra
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Maryelle
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Thomas
Olivier Cruveiller ...
Axel
Jean-Baptiste Malartre ...
Editeur
André Marcon ...
Hattou
Elisabeth Mazev ...
Visiteuse de l'appartement
Olivier Py ...
Visiteur de l'appartement
Jean-Baptiste Montagut ...
Joseph Costa
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Storyline

A story about the transition from late youth to early maturity, the film follows several friends and lovers as they come to make decisions on how to live their lives--getting a job more in harmony with ones ideals, committing to a lover, giving up a lover that no longer loves you: a film about grown-ups growing up. Written by Josh Baudhuin <jambo@well.com>

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Drama | Romance

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Release Date:

10 February 1999 (France)  »

Also Known As:

Late August, Early September  »

Box Office

Opening Weekend:

$20,432 (USA) (16 July 1999)

Gross:

$36,662 (USA) (13 August 1999)
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Company Credits

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Did You Know?

Connections

Referenced in Min f.d. familj: Pojken i flaskan (2004) See more »

Soundtracks

Contre le sexisme
Written by Kim Gordon (as K. Gordon), Thurston Moore (as T. Moore), Lee Ranaldo (as L. Ranaldo),
Steve Shelley (as S. Shelley)
Performed by Sonic Youth
© Sonik Tooth Music administrated by Zomba Songs Inc.
représenté par BMG Music Publishing France
Avec l'aimable autorisation de BMG MUSIC VISION
(p) 1998 Geffen Records Inc.
extrait de l'album "A thousand leaves"
Avec l'aimable autorisation de Universal Music S.A
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User Reviews

 
Another strong film from Assayas
23 June 2006 | by (Hawaii) – See all my reviews

I still didn't like this as much as "Demonlover" by a long stretch, but I thought it was a bit more well-executed than Irma Vep. The various aspects of Assayas's style are more fully integrated here, but I still find he has a tendency toward extended intellectual coffee shop dialogue (a la Godard) at times that I'm not crazy about, and which still doesn't mesh well with his penchant for moody visuals (in my opinion still is greatest strength). The film reminds me quite a bit of Michael Winterbottom's "Wonderland". Like that film, neither the characters nor the situations of the story are really that remarkable or interesting, but rather the movie derives it's strength from little fleeting moments. And also like Winterbottom, Assayas has an unfortunate tendency here to cut those moments slightly short. I found a number of times wanting scenes to continue longer than they did, building up more of that improvisational sense of intimacy, instead of frequently fading to black while the scene is still underway (similar to Winterbottom's "9 Songs"). Still, there are enough of those moments to make the film more than worthwhile. I definitely think it is Assayas's most approachable, warm film that I've seen. Not that I find he is necessarily a particularly cold or detached filmmaker ("Demonlover", if anything, may very well be a masterpiece of pure detachment and inhumanity, but I think that comes more from the concept of the film rather than the filmmaker, and "Irma Vep" was nothing if not a gushing love letter to his ex-wife, after all), but there seems to be a deliberate attempt in this film to capture something real and immediate, even if Assayas gets side tracked by the unfortunate boats of cerebral, intellectual café chatting.


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