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In the 80's Roberto Succo an Italian serial killer met a young girl in France. He's running away from his country because he killed his parents during an argument and the "carabinieri" are chasing him.
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Bernard Le Coq
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A school girl falls for a charming young man. After news about a botched bank robbery in which a guard is killed, she learns that her boyfriend was one of the robbers. She decides to hide him and his friends and then they all sneak out of the country. After hiding out and spending all the money, tempers rise and the group splits up. This forces the girl to work her own way back home and deal with her actions and her separation from her boyfriend. Written by
The film originally used Pink Floyd's "Shine On You Crazy Diamond" repeatedly throughout the film, and this version was screened at festivals. However, Pink Floyd charged a steep licensing fee for use of its song outside of those festival screenings, and so all instances of "Shine On You Crazy Diamond" were replaced, with the song "Richochet Pt. 1" by Tangerine Dream, in order for the film to be released in commercial cinemas. See more »
Young art student unknowingly falls in love with a bank robber and flees with him
In this well-told story, done in noir black and white, Isild Le Besco, in a very well-acted role, plays a young art student from a respectable but not monied family. She meets a young Moroccan (Quassini Embarek) who has money and they fall in love. She does not know that he is a robber. After he and some others rob a bank, in the course of which a teller is killed, she takes off with him and another couple. They elude the police for awhile and live off their theft. Each eventually has to face the authorities who are, off screen, pursuing them. The movie focuses on Le Besco's character and predicaments.
There is a strain of French movies in which dialog is kept to a minimum and character is shown by sparse conversation, relevant action, and body language. "Right Now" is in this category. I find this style engaging and also a welcome change from movies that are talk, talk, talk. This style works very well for film noir. This film could have been made in the sixties.
The film does not go out of its way to generate sympathy for the heroine by concocted incidents. Instead we see a young woman who is in many respects quite normal or typical. She has normal sexual urges, normal wit, and normal material wants. Like anyone, she is alert to satisfying her unsatisfied desires. Although she is an art student and aspiring to get ahead, there is a feeling that she will only go so far and no further, and she may as well live her life as it comes. She is honest in facing her feelings, and she does not try to run away from them. She loyally supports her new boy friend of short acquaintance out of love, even after she finds out he is a bank robber.
As the story progresses, she meets up with all sorts of characters. She has to decide whom to trust and not trust. She has to decide how to deal with them and their sexual advances. Left stranded in Athens, her situation is quite difficult and she does not immediately abandon hope of connecting with her boy friend.
The way that these incidents are depicted is, as I have said, quietly, sparsely, and naturalistically, but not without emotion and suspense. We want her to find her way out of her difficulties, especially with people ready to take advantage of her.
We are also given a character portrait of the Moroccan robber played by Embarek. Unlike most movies, he is depicted as deeply affected by the killing and remorseful. He has to recover from a robbery gone wrong that was done as a Robin Hood venture.
To what does the title refer? Although the people are planning ahead to some extent, they have major character flaws. (I wonder who of us doesn't.) One of these is a kind of hopelessness that comes through in living the current moment without too much planning and strategy for the long-run future. Immediate gratification? After getting to Spain, the two couples live it up on an endless vacation for awhile. No one tries to alter his appearance. No one plans for a permanent escape. Le Besco likes to live it up. In one scene she urges Embarek to go to a public restaurant and eat. In another scene she picks up two men as sexual partners after dancing wildly.
All in all, a good film noir that I think will hold up to repeated viewings. Le Besco's appearance alone may suffice for that. She is by no means a classic beauty, but her face is striking nonetheless. She also goes unclothed very briefly in several scenes, after a certain amount of intentional titillation by the film makers.
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