The intertwined lives of two women in 1970s France, set against the progress of the women's movement in which Agnes Varda was involved. Pomme and Suzanne meet when Pomme helps Suzanne ...
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Jacquot Demy is a little boy at the end of the thirties. His father owns a garage and his mother is a hairdresser. The whole family lives happily and likes to sing and to go to the movies. ... See full summary »
Mary-Jane asks, "Do all women fall in love with a boy, or just those without sons?" She's divorced with two daughters, Lucy and Loulou. Lucy has a party where Mary-Jane notices Julien, 14, ... See full summary »
What does being a woman really mean? How do women live the status society reserves for them? A group of women, beautiful or not, young or not, gifted with motherly instinct or not, answer before Agnès Varda's camera.
There are two parts to this film: sequences of life in the fishing village of La Pointe Courte (a government inspector's visit, the death of a child) alternate with others following a ... See full summary »
The intertwined lives of two women in 1970s France, set against the progress of the women's movement in which Agnes Varda was involved. Pomme and Suzanne meet when Pomme helps Suzanne obtain an abortion after a third pregnancy which she cannot afford. They lose contact but meet again ten years later. Pomme has become an unconventional singer, Suzanne a serious community worker - despite the contrast they remain friends and share in the various dramas of each others' lives, in the process affirming their different female identities.Written by
Alison Smith <firstname.lastname@example.org>
Without being accused of gratuitous nastiness (as rightly prohibited in the IMDb guidelines), can I just say how disappointing, to the point of hostility, I found this film, especially as I think its director's brilliant early work is in desperate need of re-evaluation. This film has none of her virtues - the mix of spontaneity with supreme formal control; the contrast between the privileging of heroine's subjectivity and ironic objectivity.
Instead, this is a formless, rambling picaresque, using two female friends to chart feminism throughout the 60s and 70s. Many of the film's arguments seem to me anti-feminist; the songs are largely sub-Joan Baez and intolerable; the lack of any ironic intelligence countering the optimism and platitudes is patronising; and I still can't believe the rather tactless Eurovision-style song about abortion.
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