Although the sound dubbing and editing is rough, there is a real warmth to Varda's treatment of this simple story - actually, more a picture than a story as such. She uses the camera in an empathetic yet unsentimental way, occasionally pausing space and time to focus on the human figure in both studied solitude and loving union, allowing Emilie's internal world to emanate subtly from the screen.
2.8 stars. Varda's cinema at its most muted and gloomy. It is as though the poetic impulse has been thwarted, tripping over itself in endless language games. Semiotics is bad for your mental health! Still, Varda never ever bullshits and that is always appreciated.
Mamou's performance is so miserably erotic, it's believable. The relationship between her and the only thing that gives her purpose (her son) is waning and brims with chemistry. This is partly due to the impressive work by Little Demy. Recommended; particularly if you like Jonas Mekas.
I can only offer my opinion as I respect Varda's work and wouldn't feel it my place to critique it, but I'm not sure her style is to my taste. I understand we are studying the inner workings of woman in a lonely period of her motherhood, but perhaps it's just dated, or perhaps I just didn't buy the poetry in her meandering thoughts. OK.
A film about separation, loneliness, alienation. While this sounds rather depressing, the tone here is warm and filled with hope - so typical for Agnès Varda. Beautifully charming portray of Los Angeles 1981, I loved the technicolor images - the composition, framing, and camerawork are absolutely fantastic. Excellent film about difficult matters, with nostalgic, yet still positive and uplifting notes...
A film that absolutely refuses to be put in a box. It is about nothing really but at the same time the most personal and autobiographical movie you will find. It is both with actors, family members, close friends and strangers. It captures Los Angeles as it is and still plays on a fictional level and stylish level the way the film is tought and edited. The play with the words, the almost experimental voice over. Wow.
'An emotion picture' Varda's final 'California period' film is perhaps the most personal of the series despite it being a fiction film. Sabine Mamou plays a veiled version of Varda while Varda's own son Mathieu plays Martin, Sabine's fictional son. The film at 61min goes by very quickly and what it lacks in story it makes up for in emotion and observation.
More than the wordplay, what I think I disliked, or reacted to, was seeing a particular type of 'weakness' - a faded, meek diminishment that for me is very gendered (and that apparently seems to trigger my contempt) - handled in such a straightforward, non-judgmental way. Leave it to Varda to make me confront some internalized sexism and come away more empathetic. Still, not her best. Personal growth notwithstanding.