Mysterious and ambiguous urban ramble around Paris of the early 80's, mostly in a state of demolition. A real life board game played in real time, with beautifully realised characters who make a strong team (real life daughter Pascale Ogier is captivating). Wonderfully moody and atmospheric, with an uncompromising optimism in its being filmed and presented in the bright light of the day-to-day. Over long though.
This bizarre urban tale by Jacques Rivette takes us on an unusual journey through the streets, alleys and abandoned/ruined places in Paris, showing us the French capital in transformation, in the beginning of the 80s. Partly surreal, partly symbolic, this is a film that you first resist and then assimilate slowly as the narrative progresses. With a spy/crime background the spirit of the French Nouvelle Vague is here.
Great Parisian atmosphere of the early 80's, interesting and moody locations, many of which get literally demolished in front of the camera... Reoccurring contrast between old and modern architecture. I think the subtle, but at the same time almost improvised style of acting worked well in this film. Mysterious, dreamy, surreal...
Urban surrealism in which two women talk, shop for shoes, toy with organized crime, and reimagine board games. Its narrative freedom is infectious, its nonsense mainly verbal (though against a background of sculpted lions, staircases and demolition sites). A star rating is difficult here (2? 5?), but its oddness is its greatest asset. Baptiste is a memorable weirdo with great headphones.
What is this film about? So beautifully shot, so long, So obscure and in the end so boring. I stuck it out because I was so hungry for film but in the end was disgusted..There was no way for me to understand the rules of the game they were playing. Rivette has to be one of the most extravagant film spendthrifts who ever picked up a camera.
I enjoy this film not because of its "filmness." I love it like a close friend. One that talks with you, often tries to nudge you in the right direction. To see the crumb on one's shoulder. Rivette Offers up the slippages of ideology, and together we parse out the nonsencial, the absolute. Together we begin, not always fun or enjoyable, but neither tragic.
Co-written by Rivette and the real life mother-daughter leads, Le Pont's "ensuing journey is at once playful and tense, loaded with wry cine-references and propelled by an ebullient energy that suggests each new wrinkle of the plot were being dictated by a roll of the dice." (Jake Cole, Slant). Even more poignant given Pascale Ogier's death three years later at age 25.