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.
Isild Le Besco,
An adolescent groupie (Isild Le Besco) zeroes in on her Blondie-like idol (Emmanuelle Seigner) after the singer chances to cross her orbit on a publicity tour. Gradually their lives intertwine as, with near-operatic intensity, the film delves into the emotional dependency on both sides of celebrity culture.
Isild Le Besco,
Fashion executive Dominique's obsession for Quentin, a young bisexual hustler, fills her desire for physical love but leaves her taxed emotionally. Twists and turns in the relationship, ... See full summary »
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 »
Not Going Places, won't leave you Breathless, not An Education here, nowhere near a Baader Meinhof Komplex
The film is based on Élisabeth Fanger's autobiographical story, J'Avais Dix Huit Ans of (translated as either "I was 18" or possibly "When I was 18"). She was 18 and in her last year of high school when she fell in love with Sid Mohamed Badaoui, a bank robber. She was still 18 a few months later when she fled with her lover and started her 2 years as a fugitive in Spain, Morocco and Greece.
Along with Garrel's more notable effort, Les Amants Réguliers, these two French filmmakers (both over 60 years old) might be trying to re-live their youth and make a film they could have made 30 or 40 years before. They aspire to create cinema like the best of the French filmmakers a few years their senior, but fail to note that these successful French film makers from the 60's and 70's made deeply personal films. It's not the pacing of the efforts that is at fault, but a lack of anything concrete to say. Just a long dose of ennui with a little existential nausea thrown in for good measure.
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