Julien lives alone with his cat. He dreams of Marie, and a few minutes later, he sees her on the street and makes a date. He asks her to move in with him, and she does. Her boyfriend is dead, the rest of her past a mystery. Although they quickly seem to fall in love, she sometimes pulls away suddenly from Julien, is distant, and spends the night in a hotel. She also dreads something imminent and warns Julien that if he missteps, he will lose her and all memory of her. Julien responds by digging into her past: what explains her remodeling an upstairs garret room, her nightly dreams, her fears? What can Julien, now desperately in love, do when he learns why? Can either rescue the other? —IMDb
Jacques Rivette was born in Rouen in 1928. In 1950, he began attending the Cine-Club du Quartier Latin in Paris, and contributed articles to its bulletin, the Gazette du Cinema, edited by Eric Rohmer. During this time he embarked on his career as a filmmaker with his first short films, Aux Quatre Coins (1950), Le Quadrille (1950), and Le Divertissement (1952).
Rivette’s friendship with Rohmer led him to begin writing articles for the new film journal Cahiers du Cinema. Here he met and became friends with Claude Chabrol, Francois Truffaut, and Jean-Luc Godard. At Cahiers he became one of the first to champion contemporary American cinema as opposed to the staid French “cinema of quality”, then prevalent. He became known as a fierce advocate of the auteur theory and praising the work of such directors as Howard Hawks, Nicholas Ray, John Ford, and Robert Aldritch.
In the mid-1950’s he continued his filmmaking education by serving as an assistant… read more
I really liked the blue room in the beginning, when Marie just started decluttering it. It reminded me in a way of Anne’s room from “Paris belongs to us” and the room Ida’s wanted to rent in the end of “Haut bas fragile” – a little bluish space with a sink in there.
My 5th Rivette film and I'm officially a fan. If there was any more atmosphere we'd all be crushed under the sheer weight! Also: best film cat ever. Nevermore was the character, I believe, expertly played by little known character actor, Gaspard. Why is that forbidden gesture so creepy? I guess cos it's forbidden...
Like The Sixth Sense, use of the supernatural to explore themes of grief and solitude. The two characters are like shadows; one dead to the world, the other..? Unlike The Sixth Sense, muted bodies find expression in a carnal embrace. There's also the suggestion that each repetition of the death, the act of saying goodbye, is a new beginning, not just an end. Clocks are everywhere, reminding us of the dearth of time.