DCP (from original 35mm print), rewatched, re-rating. The narrative doesn't stop flowing in Sautet's films, it's a continuous burning camera in a fluent discourse, in which the editing is a piece eminently invasive, since interferes in it with precision: cut and rhythm. The abstract last half-hour of this film is a remarkable piece of dispersive conciseness and, maybe, a possible response to Godard's "Weekend".
Many aspects of the aftermath of an accident were accurate. Except of course for the flashbacks, which are just a cinematic device. If there's one thing Michel Piccoli does extremely well, it's casual cruelty. He does it to her again in 'Max and the Junkmen'. What a bastard!
The film is about the abstraction of disparate things that preoccupy us, including people, from the spirit of life by means of recounting a man's demise in a car accident. Could be one of the most beautiful death scenes in cinema, as well as the filming of a car crash. Read more here: www.blog.poetofsoundandimage.com