In a revelatory film debut, the dynamic, fresh-faced Sandrine Bonnaire plays Suzanne, a fifteen-year-old Parisian who embarks on a sexual rampage in an effort to separate herself from her overbearing, beloved father. À nos amours is one of Maurice Pialat’s greatest achievements.
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Sandrine Bonnaire's stunning debut. Director Pialat is great as her father. When this played at the Pacific Film Archive (a full-size theater) in 2004, during their Pialat retrospective, the house was totally sold out, 20 years after its release.
Finally got around to this one. Sandrine Bonnaire shines and magnetically pulls us into the story, but the film was equally frustrating and fascinating to me. I will need to let it sink in of course, but as of now the uneven performances and the not so subtle elliptical choices removed me from sufficient emotional investment. As a result, I wasn't able to care as much for Bonnaire's character as I wished to.
For once again get satisfied with Pialat's i made to watch in this youthful yet disturbing capture of teenage desire as his release against abusive life in a family. A beautifully real transition of youth , and had one of pleasurable resolution in french cinema.
Holy eroticism. I've heard numerous comparisons of Pialat to Cassavetes, but this film feels like a tip of the hat to Rohmer more than anything else. Great company to have your name included with regardless.
I have a soft-spot for coming-of-age films, but I didn't really like this one. Suzanne is obnoxious and self-centered. She lacks the poignancy of other kids in French flicks (Le Souffle au cœur, Les 400 coups, etc.). Pialat's role as the father, however, was fantastic.