Pierre and Manon are poor. They make documentaries with nothing and they live by doing odd jobs. Pierre meets a young intern, Elisabeth, and she becomes his mistress. But Pierre will not leave Manon for Elisabeth; he wants to keep both.
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I suspect that the heavenly-envision'd nobody-would-have-dared-imagine collaboration between Philippe Garrel and über-scenarist Jean-Claude Carrière is responsible for a kind of conceptual bird's-eye-view marionette-play sensibility here, as well as a radical concision. Garrel has never previously served a cut w/ this little fat on it. And this is in strictest respect comédie. The least haunted Garrel I have seen.
I've been getting into Garrel's works recently, and what makes him special are undoubtedly the incredible build ups you see in his films. Like the one he had going on in this film, concerning the struggle of an couple who both are artists. Watching this, it's not the love triangle story one would expect, but the film's unpredictability is what i like best about it.
On se trouve forcément un peu démuni et sans paroles circonstancielles adéquates et pertinentes, lorsqu'un film dégage autant de confondants superlatifs dans des plages aussi variées que la mise en scène, le scénario et le jeu des acteurs. Une intrigue universelle et primitive où s'ébattent et se consument des inquiétudes, des manques et des acteurs d'une époustouflante présence… www.cinefiches.com
one of the greatest films ever made...this is a movie by a man trying to make amends not for himself but for cinema, this corrupted art of male dominion, this is the first time garrel is fully working dialectally, asking us to question images..but they're not just garrel images, they're ones we've seen all through the history of cinema, written and directed by men...an extensive piece coming soon...
FNC '15 Garrel brings us the story of a narcissistic man unable to cope with his wife's infidelity not seeing the hypocrisy in his behaviour with his latest mistress. Merhar, who until the final moments may be playing the Golem, gives us a character easy to loathe but also easy to see what the women in his life are attracted to. Courau is magnificent amongst a strong cast and beautiful b&w camera work by Berta.
[REVIEW] 76/100 - In The Shadow of Women (Phillipe Garrel, France)
The hard-to-digest ending does little to stultify one’s experience of the film, which is undoubtedly well put together.
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