6.2/10
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Wild Grass (2009)

Les herbes folles (original title)
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A quirky woman who spends her free time as a pilot has her purse stolen; when a mysterious man finds her wallet, they embark on a peculiar romance.

Director:

Alain Resnais

Writers:

Christian Gailly (novel), Alain Resnais (adaptation) (as Alex Reval) | 1 more credit »
3 wins & 10 nominations. See more awards »

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Cast

Cast overview, first billed only:
Sabine Azéma ... Marguerite Muir
André Dussollier ... Georges Palet
Anne Consigny ... Suzanne Palet
Emmanuelle Devos ... Josepha
Mathieu Amalric ... Bernard de Bordeaux
Michel Vuillermoz Michel Vuillermoz ... Lucien d'Orange (as Michel Vuillermoz de la Comédie Française)
Edouard Baer ... Le narrateur (voice)
Annie Cordy ... La voisine
Sara Forestier ... Elodie
Nicolas Duvauchelle ... Jean-Mi
Vladimir Consigny Vladimir Consigny ... Marcelin Palet
Dominique Rozan Dominique Rozan ... Sikorsky
Jean-Noël Brouté Jean-Noël Brouté ... Mickey
Elric Covarel Garcia Elric Covarel Garcia ... Acolyte aviation
Valéry Schatz ... Acolyte aviation
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Storyline

A wallet lost and found opens the door to romantic adventure for Georges and Marguerite. After examining the ID papers of its owner, it is not a simple matter for Georges to turn the red wallet he found in to the police. Nor is it that Marguerite can recuperate her wallet without being piqued with curiosity about whom it was who found it. As they navigate the social protocols of giving and acknowledging thanks, turbulence enters their otherwise quotidian lives. Written by Anonymous

Plot Summary | Add Synopsis

Genres:

Drama | Romance

Motion Picture Rating (MPAA)

Rated PG for some thematic material, language and brief smoking | See all certifications »
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Details

Official Sites:

Official site | Official site [Japan] | See more »

Country:

France | Italy

Language:

French

Release Date:

4 November 2009 (France) See more »

Also Known As:

Las hierbas salvajes See more »

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Box Office

Opening Weekend USA:

$39,162, 27 June 2010

Gross USA:

$403,649
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital | DTS

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

The aircraft Marguerite was flying at the aerodrome was a Gardan GY-80-180 Horizon.' See more »

Crazy Credits

The credits show considerable variation in their presentation. The first credits seen are the individual actor names with the name of the character played, in a serif font, with shadowed letters. These credits are moving left to right across the screen, fading in and out at different points, over a background of the film's name in larger letters, in an italicized serf font. After the first ten actors, there is abrupt change to a sans serif font, again with shadowed text, for both the cast/ characters list and the film title. The film title is now angled up to the right and is not in clear focus. After the names of the cast, the credits start as scrolling white text on a black background using a serif font, then there is a change to a sans serif font and then a return to the serif font. The next change is to black text on a grey background using a serif font. This then reverts to white text on a black background with a serif font, then a change to a sans serif font and then a return to the serif font. These credits do not stay in a central position, but move from side to side on the screen. See more »

Connections

References The Bridges at Toko-Ri (1954) See more »

Soundtracks

Good News
Written by Jordi Bernado
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User Reviews

Wild (Gr)ass
9 September 2010 | by jdesandoSee all my reviews

"After cinema, nothing surprises us." Narrator

In Wild Grass, Georges (Andre Dussollier) finds a wallet, finds the owner, Marguerite (Sabine Azema), and finds an odd connection with her and his inner self. I have no idea if I'm right in all of this—director Alain Resnais (Last Year at Marienbad) has never been easy, but its obscurity seemed to tell me something about being human and quite a bit about wild-ass filmmaking by an 88 year old director who's throwing everything into the pot and hoping it comes out a tasty stew. What Georges is pursuing in Marguerite, an eccentric dentist, is part a romantic notion of his past as it may relate to the cinema and yet the painful recollection of past deeds too dark to articulate. That cinema is artificial is a leitmotif at least. His acceptance, her acceptance, and their recurring animosity reflect in relief the vicissitudes of love in all the sordid glory from cinema.

Even trips to the police for each of them are more like therapy sessions than the business of identifying the robbery victim (Marguerite) and thanking the finder (Georges). The same policeman, reacting with the incredulity that usually comes only from the audience, lends a surreal take on the strange antics of the principals. Resnais is at full force, even in his eighties, with symbolism from wild grass growing in concrete cracks, unusual feet and shoes, a stolen bag floating almost free, and aviation that like cinema floats free but not without its rules. He creates these images as motifs in order to make order of Georges' obsessions, which become erotic and dangerous even as he seems more lost in his dreams and cinema than ever before.

As George repeatedly backs into the protection of the door to the cinema, we can be quite sure Resnais is certifying the salutary and comforting embrace of film.

That dreamlike state, with the voice over so kindly parsing some of George's passions, is best expressed in the cinema, where Bridges at Toko-Ri makes solid the theme of lost friendship and the transforming of reality into our own visions.


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