Jean (Jean Yanne) and Catherine (Marlène Jobert) are a couple whose every move charts an advancement deeper into an emotional warzone. Theirs is the classic and the tragic case of an emotional abuse centred around a perplexing, but powerful, interdependency.
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Unadorned and honest filmmaking. As much as some people like to crow about the 'realism' in some contemporary indie cinema ( Swanberg especially), it's clear they have no clue what it takes to master the craft and discipline to produce works like Pialat's. It takes courage to film this way. No attitude, no histrionics, just honest, brutal, and beautiful cinema.
It would be less horrific had it been less true, but veracity isn't the valuation's gold standard and “tout comprendre c'est tout pardonner” is wont to be revised. I never lingered twice on Hopper before this Pialat with scenes all "there on the canvas", no added sugar, suggestion-choked, devoid of any symbolism, the difficult encounters interpreted in the low key of “no interpretation”. Possible heir: Nobuhiro Suwa.
It's the I love you-I'll kill you-Marry me-Rot in Hell genre, which fatigues me. Pialat mined this ground obsessively, and there are times when, all credit due to Maurice, he's able to defeat my aversion to this sort of thing. This is not one of those times. I won't dispute Pialat's honesty, but the numbing repetition of the cycle two dull people battering each other then making up bores the hell out of me.
how can anyone showed a chronical pain in one hundred minutes ,pain before the film started and last long after it ends . Now I know why Fassbinder add this film into his masterpiece 'IN THE YEAR WITH 13 MOONS' . Pialat making film pd tierdness , what was the center of human life . Tireness is eveything in our relationship