Being so restrained, blunt and straightforward, Pialat's film is also enormously touching. The concreteness of the world he creates here is tangible. Psychological realism true in each detail, and as ensemble. The brutal restraint is somehow disconcertingbeing given the bad habits inflicted by the standard psychology of most other films. Pialat's project was a naturalist one, hence the impression of a thing just begun, just started, still in progress. (It would be, anyway, absurd and stupid to try reducing Pialat's implicit aesthetics to some theoretical statements and criticism's clichés.) What is obvious is that Pialat achieved his aimfinding the fourth dimension of this coming of age story. For me,Pialat might not be worthy of love; he is certainly worthy of respect. In his moviesnot only in this one, but in several others as wellone finds not only probitybut also genuine power, inspiration, the strength of a secret master, Pialat. Good and serious director, keen psychologist, avid of femme's perfume and scent, intelligent and uncompromising.
In psychology, Pialat rightly perceived the distances and the gaps and ,as it were, the laws of the perspective. In this movie, Pialat uses this sensational and hidden knowledge to tell the tribulations of a gamine.
The amazing lead actress is worth seeing; with her, the film took one more chance at the ineffable.
Any movie is made with elements,but it lives out of the rapports and the ideas.On the cinematographic elements' level,Pialat's movie is austere.There is no bit of stylization,but each element has a 4th. dimension:the rapports' level.This dimension is widened by the music.Purcell's suitable music gives the action a strange coherence.The movie is made out of relations,rapports,reflections.Far from being some kind of a flat realism,Pialat's movie lives entirely out of this wealth of thought.
Most important,this strengthener,firm,intelligent,bitter,even poignant realism is not fake.
A courageous decision is the refusal of all stylization.(The "cruel movie",the ferocious movie relies on stylization.)True realism means ideas,reflection,a lively mind.Far from being mechanical and passive,it is fertile and elastic.
This movie is also a medicament.
I find it disappointing that only 3 comments were written here for "À nos amours ".Also,the weighted average vote of 7.5 / 10 is unfair.
Miss Bonnaire is a standout.Her cinema presence in "A Nos ..." surrounds the viewer.
In psychology, Pialat rightly perceived the distances and the gaps and ,as it were, the laws of the perspective. In this movie, Pialat uses this sensational and hidden knowledge to tell the tribulations of a gamine.
The amazing lead actress is worth seeing; with her, the film took one more chance at the ineffable.
Any movie is made with elements,but it lives out of the rapports and the ideas.On the cinematographic elements' level,Pialat's movie is austere.There is no bit of stylization,but each element has a 4th. dimension:the rapports' level.This dimension is widened by the music.Purcell's suitable music gives the action a strange coherence.The movie is made out of relations,rapports,reflections.Far from being some kind of a flat realism,Pialat's movie lives entirely out of this wealth of thought.
Most important,this strengthener,firm,intelligent,bitter,even poignant realism is not fake.
A courageous decision is the refusal of all stylization.(The "cruel movie",the ferocious movie relies on stylization.)True realism means ideas,reflection,a lively mind.Far from being mechanical and passive,it is fertile and elastic.
This movie is also a medicament.
I find it disappointing that only 3 comments were written here for "À nos amours ".Also,the weighted average vote of 7.5 / 10 is unfair.
Miss Bonnaire is a standout.Her cinema presence in "A Nos ..." surrounds the viewer.