Maurice Pialat

Maurice Pialat – Van Gogh (1991)

“allmovie” wrote:
Running nearly three hours, Maurice Pialat’s VAN GOGH is a leisurely paced look at the famous painter’s final year. Pialat’s portrait differs from many other films in that he shows Van Gogh (Jacques Dutronc) as being reasonably sane and he focuses on the everyday events of the painter’s life and art. Read More »

Maurice Pialat – Nous ne vieillirons pas ensemble AKA We Won’t Grow Old Together (1972)

Rare is the film in movie-history that can announce the entire movement of it’s ‘plot’ with its title alone. But Pialat’s second feature, Nous Ne Viellirons Pas Ensemble does exactly that, encapsulating all the turmoil, and the final end-point, of a couple who among themselves once made a commitment – and living together will come to make another one yet. Jean (Jeane Yanne, of Godard’s Weekend) and Catherine (Marlene Jobert, of Godard’s Masculin Feminin) are the couple whose every move charts an advancement deeper into an emotional warzone. Theirs is the classic and the tragic case of an emotional abuse centered around a perplexing, but powerful, interdependency. Read More »

Maurice Pialat – Sous le soleil de Satan AKA Under the Sun of Satan (1987)


Under the Sun of Satan opens to an inherently solemn ritual as a senior priest, Canon Menou-Segrais (Mauric Pialat) shaves a spot on the top of the head of a pensive young priest named Father Donissan (Gérard Depardieu) who, in turn, uses the occasion to express his feelings of profound estrangement and inutility from the practical concerns of their congregation. Acknowledging both his mediocre scholastic aptitude at the seminary that nearly prevented him from becoming ordained, and his indebtedness to Menou-Segrais for his admission into the parish ministry (despite the young priest’s perceivable disapproval of his superior’s spiritual resignation and complacency), Donissan nevertheless declares his intention to request the archbishop for a re-assignment, preferably to a Trappist monastery where he believes that his temperament and secular detachment would be more conducive to their contemplative, monastic life of humble (and seemingly unobtrusive) service. Read More »

Maurice Pialat – Police (1985)


A moody, jaded police detective, while investigating a drug ring, falls for a mysterious woman and is drawn into a shady and dangerous scheme. Read More »

Maurice Pialat – Le garçu (1995)


Synopsis wrote:
A self-centered man (Gérard Depardieu) with many diversions occasionally visits his 4-year-old son (Antoine Pialat) and the boy’s mother (Géraldine Pailhas).

Janet Maslin @ Nytimes wrote:
Having played far-flung movie characters from Cyrano de Bergerac to a Disneyfied friendly ghost, Gerard Depardieu finds one of his most interesting roles closer to home. He plays a well-heeled, powerful Frenchman named Gerard in a new film by Maurice Pialat, the subtle and disturbing film maker with whom Mr. Depardieu has worked so well (in ”Loulou,” ”Police” and ”Under Satan’s Sun”). Read More »

Maurice Pialat – La gueule ouverte AKA The Mouth Agape (1974) (HD)


Monique Mélinand portrays a woman in the late stages of terminal illness. Her son Philippe (Philippe Léotard), Philippe’s wife Nathalie (Nathalie Baye), and her husband Roger (Hubert Deschamps) attempt to comfort her as she navigates through her ordeal. However, those two closest men in her personal life begin to get more involved in their relationships with multiple mistresses. Her husband flirts with customers in their clothing and haberdashery store while her son flirts with her nurses. The film incorporates elements of Mozart’s opera Così fan tutte to poetic effect, relating to these scenes. In the end scenes, she goes through several final, deeply emotional moments as the disease claims her life. (Wikipedia) Read More »

Maurice Pialat – La Maison des bois [Chapters 4 – 7] (1971)

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Compared by critics to Jean Renoir and Ken Loach,
French director-actor Maurice Pialat is now recognised
as one of world cinema’s profoundly humanists
filmmakers. Pialat was born into the same filmmaking
generation as Nouvelle Vague icons Godard and
Truffaut, or the “Left Bank” filmmaking movement’s
Alain Resnais and Chris Marker. But having trained as a
director of observational documentary, Pialat turned
away from the intellectual play and cinephillia of his
peers. Instead, in landmark films such as POLICE
(1985), the Cannes-winning SOUS LE SOLEIL DE SATAN
(1987) and VAN GOGH (1991) he evolved a style that’s
may become contemporary cinema’s most influential: a
cinema of naturalism, spiritual passion and
instinctive social engagement. Read More »