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. ...
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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.
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 »
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,
L'Astragale is a 2015 French drama film directed by Brigitte Sy. It is the second film adaptation of the 1965 semi-autobiographical novel L'Astragale by Albertine Sarrazin, after Guy Casaril's L'Astragale.
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 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.
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. But the new girl in his life finds out that Manon has a lover. When she tells Pierre, the time comes for difficult decisions all round.
There's one reason to see this film - an amazing performance of Clotilde Courau. The rest of the film is paled in comparison. The story itself has nothing special to offer. Philippe Garrel's direction is very professional but offers very little character. His special requirement of single take for every scene seems to have inspired the extraordinary performance of Clotilde Courau, so he does deserve credit for it, but nothing else stands out here. And I did find his use of narration, point less and annoying. All other aspects of the film are professional too but falling out flat.
On the other hand, it's worth seeing if only for the superlative performance of Clotilde Courau, which I already mentioned.
One last point, has to do with the name of the movie. In French it's called L'ombre des Femmes, which translates simply as The Shadow of Women. It's a very small difference from In the Shadow of Women, but it's an unnacessary difference that shouldn't have been there.
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