Camille, a naive schoolgirl meets an intiguing influence in Joelle, a slightly older and much more experienced spirit. Camille follows her new friend through the discovery of sex and the darker side of life. As the film progresses Camille discovers Aids and the fear that she may have picked up the disease in her early encounters.Read More »
Time Out wrote:
Bernard (Depardieu) is a wealthy businessman, happily married to beautiful, elegant Florence (Bouquet). Much to his astonishment, he falls in love with his comparatively dowdy secretary, Colette (Balasko). It’s no office fling but the real thing, and – to Bernard – completely incomprehensible. Once again charting the outrageous repercussions of an obsessive love, Blier proceeds to explore the situation from every conceivable angle, merrily constructing and deconstructing alternative stories for all he’s worth. Although the film fails to sustain itself over 90 minutes, much of the first half is very funny and occasionally sharp; Buñuelian motifs are mischievously resurrected, and Blier’s parodies and fantasy sequences are brilliantly dovetailed in a series of waltzing, switchback camera movements that are a joy to behold. Blier is a classy, amusing film maker, but one suspects he is too fundamentally bourgeois to truly shock or surprise; and this movie ends dispiritingly with the most banal of all its potential options.Read More »
Synopsis:
Camille, a naive schoolgirl meets an intiguing influence in Joelle, a slightly older and much more experienced spirit. Camille follows her new friend through the discovery of sex and the darker side of life. As the film progresses Camille discovers Aids and the fear that she may have picked up the disease in her early encounters.Read More »
Black comedy about solitude and dishumanization of the modern world, through the adventures of three men. First introduced is Alphonse Tram, an unemployed young man. His only neighbour is the police chief-inspector Morvandieu. Then a third man appears : he is Alphonse’s wife’s murderer… Bizarre and unreal.Read More »
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Remy is morose, nearing 30 with his career as a musician going nowhere and his eight-year marriage to Martine souring. Then, Martine dies in a car crash, and Marion, her 14-year-old, wants to stay rather than move to her father’s. Remy likes the idea: he loves her, he’s raised her, and she offers him emotional responsibility. Marion’s father objects, but she’s willful, so he relents. Soon, she tells Remy she finds him attractive, that she’s now “a woman,” and why can’t they be lovers. Remy is appalled, but weakens, missing her when she spends Christmas with her dad. What if they do become lovers? What next? And what if a woman more his age enters the picture?Read More »
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Young people talk about the past, present and the future, dreams and trends, in front of Blier’s camera.
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In 1963, 22-year-old Bertrand Blier invited 11 of his peers to come to a film studio and talk about their lives. The record of what was said, Hitler? Connais pas!, is a discussion of values that remains relevant and fascinating today. The footage was shot just five years prior to May 1968, and the atmosphere of that time is clearly discernible: these young people may not yet be revolutionaries, but there is clearly a ferment in the air. Read More »
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Two whimsical, aimless thugs harass and assault women, steal, murder, and alternately charm, fight, or sprint their way out of trouble. They take whatever the bourgeois characters value: whether it’s cars, peace of mind, or daughters. Marie-Ange, a jaded, passive hairdresser, joins them as lover, cook, and mother confessor. She’s on her own search for seemingly unattainable sexual pleasure.Read More »