If I learned one thing from watching Blue jeans and Adieu Philippine, it is that Rozier is fantastic at shooting dance scenes. But alas, I learned more than one thing from watching Adieu Philippine, namely that Adieu Philippine is a fantastic film and that I cannot wait to see more Rozier.

Adieu Philipppine is a film distinctly made of two parts. The first part takes place in Paris around a young man who works in a television company, although he has received conscription letters thus has to leave for Algeria in 2 months time, and meets two girls. This part firstly demonstrates the meticulous construction films require while brimming with affection for the medium of video. The second part features the man and the two girls holidaying at a seaside resort.

The result of this is utterly spectecular. The film is simultaneously cheery, energetic and melancholic. Lavish on location photography sweeps the entire holiday and Rozier never fails to insert the appropriate music at various effective juncture. Through this, Rozier masterfully invokes a rather elusive feeling of loss that foregrounds the entire events. Frankly, there is no real plot and that seems to be Rozier’s intention. What we have shot on film here in Adieu Philippine is the last carefree summer, the last few ambivalent drops of freedom. This film is brilliant and deserves to be widely seen. It is definitely amongst my favourite of the ‘playful’ nouvelle vague films (which are in actuality the real nouvelle vague films but I like to delude myself and include 2 or 3 Things I Know About Her and Muriel).