Reminiscent of the classic road movies of Wim Wenders, albeit, with the usual Garrel meditations on regret (specifically related to May 1968) and desperation (more often related to couples and their inability to receive love). The bold use of 'scope photography seems intended to exaggerate the spaces between individuals and the loneliness of their world.
As if a time-capsule, a red Carrera traverses urban or suburban milieux crossing borders in a trip to the twilight zone of History's fallen idols. From May68 to the reactionary cocoon in a consumer society vacated of meaning, the discourse of suicide is both literal and metaphorical. Garrel's acoustics of subtle movements in everyday-life matches gorgeously composed minimalist shots open to sad synecdochies of sorts.
Sentimental, nostalgic trip about loneliness, love and struggle adapting to ever-changing reality. Also, this is a film about the 60s, the revolutionary days. About people, who had to forget about their ideals - or suffer life trapped in the past. I personally met such people, here in Poland, people who after the fall of communism couldn't or didn't want to change and adapt. Difficult topic, handled in a subtle way.
Grew on me. On the one hand, nothing irritates me more than (morose, slightly petulant, often French) "cinematic" emotional immaturity. On the other, maybe they embody it so I don't have to? Disillusionment, after all, isn't hard to relate to. ('68 being a pretty justifiable source thereof, so fair enough re their pouty.) Lesson: being a "grown up" is like being in high school, but with less life left in you. 3.5
Performances are key in this subdued film about a young man involved with an older woman and who takes up with a former sixties radical pondering both his own identity and relevance while basking in the somewhat failed dreams and ideals of the other two. Deneuve, Duval and Beauvois all give strong turns here.