One of Huppert's best performances centers an ambitiously contained occupation tale. One passage suddenly tears us from this microscopic perspective - an audacious move that few directors could pull off without throwing the rhythm. But Charbrol keeps us focused. Although the lover plot doesn't work through the emotions it thinks it does, the final scenes have just the right does of pain.
A good choice for Women's Day as the film hits early on a lot of feminist issues - abortion, sex positivity, household power dynamics - but does so in an interesting, intricate way. Allowing Huppert to play a mostly amoral and self-centred woman without judgement, not beating or beatifying her, just giving her agency to make both good and bad decisions. The final act is a weak note.
Film meraviglioso di un'autore meraviglioso.Chabrol affronta temi super-difficili come l'aborto e la pena di morte e riesce a farlo con una mano meravigliosa,suscitando emozioni continue ed immergendo tutta la pellicola in malessere tangibile.Pierrot mi ha ricordato troppo i 400 colpi,ed il senso di colpa e di impotenza lacera davvero l'anima. Huppert monumentale,giustamente premiata. Bello bello bello. 4*
Loved this film. Isabelle Huppert is a dream (here, and in just about every other role, really). Marie's relationship with Pierrot seemed unresolved/under-explored by the end, but perhaps I'm looking for a resolution that was unintended. Huppert's characters often leave me perplexed -- feminist hero or selfish, neglectful mother driven by greed? And I suppose it's both... and that's likely why I love her so.