Middle-aged artistes provide the focus of this drama filmed in black and white. The story is set in Paris around the time of the Gulf War. Paul is an actor leading a drab directionless ... See full summary »
Johanna ter Steege
Hélène is unhappy with her marriage but finds some comfort and relief with Paul, a young art student. They reflect on their differences of age, backgrounds and also what truly connects them... See full summary »
1968 and 1969 in Paris: during and after the student and trade union revolt. François is 20, a poet, dodging military service. He takes to the barricades, but won't throw a Molotov cocktail... See full summary »
As a man leaves his wife and daughter, a series of brief conversations, observed gestures, chance encounters and impulsive acts, tell the story of the relationships that flounder and thrive in the wake of this decision.
Pierre and Manon are a pair of poor documentary makers, who scrape by with odd jobs. When Pierre meets young trainee Elisabeth, he falls for her, but wants to keep Manon at the same time. ... See full summary »
Four chapters based on the birth of a 'secret child', or a film, with chapter titles: "La séction Césarienne" (Caesarian section: a descriptive detail introducing the mother); "Le dernier ... See full summary »
Henri de Maublanc,
A 4-year-old child is the element from and around which the action develops, and brings sentiments and emotions to light. The French word révélateur" describes the prodedure to develop or "reveal" film negatives.
The familiar conflicts of a film director planning to make a movie about his life and the confrontation he has with his wife, an actress who was turned down for such project in which she wanted to play herself.
A young film director called Francois wants to make an anti-drugs movie but can't find a producer. When he does it turns out the guy's a heroin dealer. There's the makings of a very cynical black comedy here but Philippe Garrel doesn't really do comedy. What he does is irony so you may still find yourself sitting with something of a grin on your face for much of "Wild Innocence". As a film about a slightly egotistical, if still deeply sincere, young filmmaker there is almost an element of self-parody here and you feel this was a simple, easy film for Garrel to make.
It's visually gorgeous; the great Raoul Coutard photographed it luminously in black and white, (it was to be his last film), and there's a nice homage to the New Wave in the casting of Michel Subor as the drug-dealing producer. As the director Mehdi Belhaj Kacem is virtually never off the screen. I got the impression he wasn't really acting but simply 'standing in' for Garrel and it's interesting to note that this is only one of three times he has appeared on screen, while Jullia Faure as the young actress he casts in his film, "Wild Innocence", is pretty vacuous and just as Garrel doesn't do comedy, neither does he do thrills; the elements of a thriller are here but they just don't lead anywhere.
Ultimately Garrel gives in and makes his film the film Francois wants to make so that "Wild Innocence" becomes "Wild Innocence". This felt to me something of a cop-out just as the drugs Francois is forced to deal in finally infest his set; it's certainly something you can see coming. Perhaps, of course, this was meant to be the real black joke but I found it too predictable in a film that was self-consciously clever rather than likable or simply admirable and at over two hours it is definitely overlong.
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