In her exceptional third feature, writer-director Mia Hansen-Løve (The Father of My Children) shows once again her talent for capturing the agony and the ecstasy of adolescence. Besotted teenagers Sullivan (Sebastian Urzendowsky) and Camille (Lola Créton) struggle, as all couples must, with a painful push-pull dynamic, heightened by the young man’s decision to leave Paris and travel through South America. Over the course of eight years, we watch Camille, initially devastated by her boyfriend’s departure, emerge with new passions, intellectual and otherwise. Touchingly illuminating the indelible imprint that first romance leaves, Hansen-Løve’s film also explores the hard-won satisfaction of leaving the past behind. –NYFF
Cinema came into Mia Hansen-Løve’s life when she was eighteen, as Olivier Assayas made her start as an actress in Fin août, début septembre (1998). Two years later, he gave her the part of “Aline” in his Les destinées sentimentales (2000). Their artistic collaboration was coupled by a union in real life, Mia and Olivier becoming life companions. In 2001, Mia Hansen-Løve began studying at the municipal Conservatory of Dramatic Arts in Paris’ 10th district but she dropped our after two years to contribute instead to the famous film magazine “Les Cahiers du Cinéma”, where Olivier Assayas also wrote. In 2001, she tried her hand at directing and, as of the first day of shooting, discovered that this WAS what she wanted to do. The result was Après mûre réflexion (2004). Since then, although aged only twenty-eight, she has already made two more films, Tout est pardonné (2007) and Le père de mes enfants (2009), both acclaimed by the critics, both showing consistent thematic and stylistic unity… read more
Also: New books, silver discs and goings on all over.
On the philosophy of Mia Hansen-Løve and the her 2011 feature.
“Lola Créton will be the next pouting-faced star of French cinema.”
A look at the posters for the films in the main slate of this year’s New York Film Festival.
When one is young, summer lasts forever. It is a restless and carefree cat-like creature, stretching and coiling lazily in the tall grass, infused with a Dionysian love of youthful abandon. Mia Hansen… read review
O que é bom permite suspender a descrença e aceitar o que, não sendo mau, não é Lola Créton.
- O uso da (boa) música obedece a um esquema demasiado rígido, e tem uma função essencialmente decorativa… read review