Cinema du look cool, achingly 80s cool. Black&white shots to frame and to put on your wall and to think yep, they were cool. With so much coolness it is difficult to communicate, except without technical gadgets - car telephones, door phones, televisions, radios. Like the old deaf guy in the film says: the young generation is not talking enough, they think it’s not worth it. Tragic, but cool.
France's Orson Welles makes his debut at the same age as Welles and doffs his cap at "Citizen Kane"with a shot of the snow flakes falling within the paperweight. Both wrote their original scripts. Visually awesome. When there is music (David Bowie's song) or silence, you take notice. The two major players are very good, Ms Perrier is truly charming and attractive., while Lavant has only to play out his odd character.
Un premier long métrage et déjà comme Orson Welles avec "Citizen Kane" (dont on fait référence avec la boule de verre remplie de neige) une forme de chef-d'oeuvre en miniature. Bon vent à Raul Ruiz, Paul Vecchiali et Leos Carax, le triumvirat triomphant du nouveau cinéma français des années 1980... www.cinefiches.com
7/10 Yes, it's a pretensios mix of ideas, arresting cinematography and meandering through Paris. But under that there is definitely something important. It's clearly a debut picture, but it shows us what's Carax can and will do in his future (next) films. P.S. I would never thought that 'Dead Kennedys' could sound so romantic and sad.
In the pantheon of debut's it's strong, but also always feels like one. Clearly in love with the possibility of cinema, it plays as an homage to boy meets girl before spiraling into deconstruction, a pop song that becomes a philosophy lesson. Staggeringly stylish with gorgeous photography, it's too rife with the affectation of youthful seriousness, but the talent is evident.