Marie wants to escape from her job and also from her lover, Paul, an unemployed drunk. She dreams of going off with Jean, a dockworker. The two men quarrel and fight over Marie on two occasions, but Paul retains a hold over her.
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Epstein, the anti-intellectual and anti-theatrical french director, associated with impressionism in cinema, created films made of images where time and space are submitted to the interior passions, desires and impulses of people - indeed, his editing associations have nothing of metaphorical. Movement, seen as the essential photogenic quality, is also the essential producer of meaning inside or outside the shots.
Its beauty and candour was mesmerizing from start to finish. With stunning visuals and inventive editing techniques, this film exceeded my expectiations in every way by creating socially viable characters and by externalizing their 'coeur' through a masterful use of lightning, mise-en-scène and editing techniques, culminating, with the fast cut montage at the fair. Memorable. A truly underrated artistic gem.
Just as impressive as Gance's "Napoleon" (except maybe for the length difference) but more poetic and beautiful. A magnificent cop killing scene that must've inspired Godard's famous scene in "Breathless," surprisingly though this one is even more disorienting. One of the greatest films I've ever seen.
Alguns planos maravilhosos, principalmente os enormes (em duplo sentido) close-ups. Tanto os planos da imagem reflectida - seja no espelho ou no mar -, como os de objectos - como a faca - são fascinantes.
Before the French New Wave we had Jean Epstein and he did cinema proud with his poetic cinematic achievements. The close-up shot of Gina Manes with a tear falling down her cheek is one of the most beautiful shots in cinema that i've ever seen.