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L'amour existe (1960)
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Overview
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Maurice Pialat (commentary)
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poetic documentary about working class France
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Cast
(in credits order) (complete, awaiting verification) | Jean-Loup Reynold | ... | Récitant / Narrator (voice) (as Jean-Loup Reinhold) |
Directed by | |||
| Maurice Pialat | |||
Writing credits(in alphabetical order) | ||
| Maurice Pialat | commentary | |
Produced by | |||
| Pierre Braunberger | .... | producer | |
Original Music by | |||
| Georges Delerue | |||
Cinematography by | |||
| Gilbert Sarthre | |||
Film Editing by | |||
| Kenout Peltier | |||
Production Management | |||
| Roger Fleytoux | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Maurice Cohen | .... | assistant director | |
Editorial Department | |||
| Liliane Korb | .... | assistant editor | |
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Additional Details
Also Known As:
"Love Exists" - International (English title) (literal English title)
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21 min
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this film is a poetic essay-documentary about post-war France in the leate 1950s. it's poetic imagery and voice-over narration is similar to alain resnais' documentaries. the narrator expresses a deep sadneswere s about the state of post-war France, the growing gap between the poor and the rich, the new suburbs and increasing unhappiness. some of the memorable moments of the film was shots of the new apartments being built in France. these buildings have to be seen. they look modern and arty, but oppressive and depressing at the same time. the windows are narrow and horizontal, so that no one gets a good view outside their window. then there are shots of these urban communities that are made up of cardboard shacks that often go up in flames because the people who built them often use oil-based heating devices to cook their food, it's was the 1950s version of today's tent city. and shots of the ruins the bombing of World war II where there is a field of glass and run down buildings. this film shows both all facets of french society and is a beautifully filmed historical document of post war France we don't often see and we often forget.