Elizabeth sends telegrams to her old boyfriend Ben in New York and to her younger sister Leo in Rome to join her in Paris, where she is selling her dead father’s estate. When Ben and Leo arrive, a mysterious adventure begins.
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Precursor to ROAD TO NOWHERE, with Maria SCHNEIDER & Danièle GEGAUFF (Paul GEGAUFF ex wife, CHABROL's writer, stabbed by his 40 years younger girlfriend who took him at his word when he said "Kill me if you want but stop pissing me off"). J-F. STEVENIN Joe DALESSANDRO (WARHOL's toyboy) GAREL (father) & Mitterrand (nephew). In short, a cabinet of curiosities. == Long & abscon fourre-tout, Moulinsart cinématographique.
As long as you don't pay too close attention to the plot, and the fact that one of the characters is played by two women, and that there are ever repeating sequences thrown in seemingly at random, it kind of resembles late '60s Godard. Yes, I used the lord's name in vain. Please forgive me.
Pretty good, considering how much of a shambles the production was. Meanders a bunch, and the dream/fantasy sequences don't go anywhere in particular, but the Rivette Effect still comes through more often than not.
Oh, just another impossibly cool Rivette masterpiece. This is his best straight-out terminal sleuthing movie. Some seriously hip Borges delirium. Incredible calculation in making cinema seem to "just happen" like this. Barre Phillips on bass! (He's a hero of mine.) And the other interstice: Spy vs. Spy - Hermine Karagheuz developed a moving-around-in-the-frame body of work w/ Rivette that rivals Chaplin's. Sublime.
Such a strange Rivette. A film with a clear charm that is undermined by a near-unbearable amount of self-indulgence. When, by the last twenty minutes, the smokescreen clears, you get a glimpse of Rivette's true powers, his true poetry, his playfulness. Overall, this remains as an oddity, an interesting but profoundly flawed piece of work.