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 »
Paul, 16 years old, arrive to live at her aunt's house, after his father's death. Alongside her aunt Anna lives his cousin Robert. Paul's arrival is unexpected, creating great tension ... See full summary »
Iris is 16 and finishing her teenage years in a small provincial town when she meets Jean, a 40 year old photographer from Paris. Over the course of their meetings, their relationship ... See full summary »
Every day, Lina wakes up in the morning, tidies up the house, brings some tea to her hard-working father and to her hypochondriac mother, and runs out as soon as she can. What is she ... See full summary »
Louis Garrel recently made his first feature film as director, Le Petit Tailleur, in an interview afterwards he admitted that his film was of a Paris that did not exist anymore, where the young went to the theatre to see Kleist. His film, as this one, contains a nostalgia for the New Wave. This is tacitly admitted in Goodbye First Love when Sullivan mentions that he went to a party in the suburbs where kids went to have sex and take drugs, a piece of shrapnel that doesn't fit in the jigsaw of this movie. The young of the developed world live with their eyes burnt out.
Goodbye First Love tells the story of Camille, in love with Sullivan, and how she copes with losing that love and moving on with her life. There's something pristine about the way that young animals love and lust together, narcotic and somewhat illusory, but on the threshold of paradise; and actually the most astonishing part of the film practically occurs in an Eden. One its successes is the casting of two actors who have an obvious sexual compatibility, which lends credibility to the treatment.
Mature love comes, but lies in the cradle of shared creativity and mutual respect, which should represent a superannuation of first love; but flesh is not just. For Camille, riding on the pannier rack of Sullivan's bicycle and grasping his body will always be the seed of her crystal.
Goodbye First Love, by the way, is an incredible aesthetic treat (my favourite part may well have been when the two rake over the ashes of their love, lying together likes ravens in a shattered tower, all a creation of capturing colour carefully). I felt privileged to have watched it, to have been let inside what's a meagerly-camouflaged auto-biography from Mia Hansen-Løve. I may well love and be loved back one day, but it won't be the Hamelin song that Mia has let me see, and I'm grateful to her for this facsimile.
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