DCP (from original 35mm print), rewatched, re-rating. The narrative is a set of scenes-blocks, subject to a fictional continuity formally presented by discontinuous cuts, introducing abrupt ellipses that it is up to the spectator to fill in relation to the previous scene(s), being the present scene the one that is always in imminent, immanent, conflict.
A study in relationship's chaos, violence & abuse told in vertiginous fashion: the film is falling down a spiral and the formal qualities of Pialat's filmmaking reproduce the protagonist's existential dread - and his appalling, unbearable unlikeableness. Cassavetes is a clear reference, but this is also equal doses Bresson - and thoroughly, totally its own.
I hear these dialogues like literally all my life, between me and friends, me and society, friends and society and me again. Looks like we are all emotionally unstable in our stability, can't stand each other, but can't live without each other, jeez so complicated
A nice character-driven film about the full decaying process of a relationship. It's difficult to engage with it at the beginning (due to the main characters' ugly nature) but then it's worth the ride. A realistic story, written perfectly and with a good pace. One of the key stones of French cinema's new era of hyper realism.
Early film from director Pialat is a tedious affair tracing the long erosion of a relationship between a woman and a morose, troubled man that anyone can see are not meant to be together. When one's main thought through an entire picture is 'what an insufferable a-hole this guy is' it doesn't exactly inspire empathy for a character.
Sometimes, silence is a blessing. Sometimes, the quietness between two souls represents a moment of bliss, of the overwhelming beauty that lies in the eyes of lovers. However, in a toxic affair, silence is built upon the things that couldn't be and won't be said. Exploring the bursts of violence and the desillusion of a love that can't be, this Pialat is a relentless study of a disfunctional relationship.
Maurice Pialat zooms in and out the turbulences of a couple throughout his whole film, investigating how hard it is to love each other and to be aware of such sentiment. Lengthy dialogues and temperamental behaviours are only a few of the aspects that make Pialat's cinema so unique and fascinating - a way of looking at the world that audaciously distances itself from the renowned modes of the French New Wave.
On the contrary this is not realist, honest cinema but totally surreal. Characters have Lynchian behaviours and say odd phrases like 'The doctor says I'm bourgeois but I don't think so'. People peel nuts, truffles and peas while opening up. Wives are disappointed in their husbands mistress for not loving him back and the mistress' parents are also totally cool with it. Like a mix between Fassbinder and R Ruiz.
Winning lead performances and a script that puts some complicated adult relationships at the forefront of the proceedings make this a v ery enjoyable drama. Maurice Pialat adapts his novel to the screen, and manages to make something very bittersweet, with elements that many people will recognise, even if they don't want to.
The character study of a possessive and dominant 'salaud' abusing a cute, and helplessly collaborating 'rousse' in this distasteful abuse scheme of the salaud on the rousse. Absolutely horrible to watch which I think is what the director wants to achieve as it is how life sometimes goes. Or it is some kind of sick fantasy wrt the wife/salaud situation.
Il ne sait pas vraiment l'aimer, où l'aime à contretemps, elle ne sait pas comment le quitter. Pialat excelle à filmer le changement d'atmosphère au sein du couple - où certains manquements sont irrévocables. L'homme qui commençait en position de force s'avère le plus fragile finalement, quand la femme lui échappe : belle leçon d'humilité - à moins qu'il n'ait le goût du malheur.