Beginning in a disarray that persists even due to the boredom of everyone involved, this shows class warfare in a terrain of sex but little passion. As Nelly loops through patterns of masculinity that bridge the status of her lovers, the repetitive bouts continue to exhaustion, relieved by Pialat's intimacy. His long-takes detailing the intimate naturalism of the leads is worth all the histrionics in Hollywood
Because his subject is essentially entropy (the swirling productive / destructive element of individuals and their relations), Pialat is a filmmaker whose form exists despite his vision. And his form is entirely unique (as is his spiritual cousin Cassavetes', w/ whom he shares a set of interests, but not a form). What is so amazing about Pialat is his elegance. This is an elegant film that promises it may explode.
This is great! The escalating disaster of the family lunch scene particularly memorable, esp. with its dark conclusion. And it was fun to see Depardieu and Huppert so young... he barreling around with an almost twitchy face (maybe intentionally, maybe not), and she doing some uncharacteristic over-acting (also teased out intentionally?).
Pialat films scenes by blocks, in which the camera follows the rant improvisational actors in search of action: cinema of performance, intense, unpredictable, complex. The nuances arise and conflicts are his base. Huppert and Depardieu never again were this good, with Pialat's camera to rape/embrace them in their presentation. Naturalism is made with the most concrete of stagings.
does anyone knows if Loulou is a "french remake" of John Cassavetes's Minnie and Moskowitz? They are very similar, not only in the plot but even some cuts and mise-en-scene. Pialat already did something like it with Truffaut's Les quatre cents coups, making L'Enfance Nue. anyone knows anything about it?