7.1/10
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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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Genres:

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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Technical Specs

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Did You Know?

Connections

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

Soundtracks

Cinquante Six
Written by Ali Farka Touré
Performed by Ali Farka Touré
© World Circuit Music. Courtesy of World Cirtuit Ltd
extrait de l'album "The Source"
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User Reviews

 
Nice marriage of form and content
29 May 2000 | by (United States) – See all my reviews

The style of the film, described elsewhere as in the 'Dogme 95' genre, really works well for this story, especially on the cinema screen; on video, the transfer was made from a slightly poor-quality print, which is too bad - the photography in the movie is excellent. For the technically-oriented, "Fin Aout, Début Septembre" was filmed in Super-16mm, and in my opinion this sort of plot is perfectly suited to the S16, or the DV-originated type of storytelling technique. It's true there was no murder or gratuitous violence, no rape or incest, no endless spurting of tears and confessions, which is frankly the reason I love this film. The dialogues are believable, the characters are very real, with that feeling of people we've known and maybe not always loved or cared to be around, but who are part of life nonetheless...I admire a filmmaker who is willing to present characters that are based in life, not in movie clichés, and Assayas pulls it off here wonderfully in my opinion.


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