Criterion Sunday 337: À nos amours (1983)

Maurice Pialat had something of an outsider’s relationship to mainstream cinema, it feels at times, a bit like Cassavetes or similar filmmakers who thrived on improvisation and documenting raw emotional states. This film focuses on Sandrine Bonnaire’s Suzanne, a fantastic debut performance and very much the heart of the film, whose coming of age blends with a sense of rebellion against her dysfunctional family and also, it’s hinted, deriving from depression (perhaps something to do with her family situation). The family, sadly, are the weakest part of the film, at least from an acting point of view (both the mother and the brother are frustrating to watch and come across as particularly and screechingly one note; Pialat himself plays the dad). It certainly is close to the surface, these growing pains that Suzanne is going through, her flings with men and her aimlessness, but for all that the dramas are evident, her own feelings are buried and largely inaccessible to any of those around her. She is a steely mystery at the heart of a messy film, and one that I suspect will grow if I revisit it, but another fine film in Pialat’s oeuvre.


FILM REVIEW: Criterion Collection
Director Maurice Pialat; Writers Arlette Langmann and Pialat; Cinematographer Jacques Loiseleux; Starring Sandrine Bonnaire, Maurice Pialat, Dominique Besnehard, Evelyne Ker; Length 95 minutes.

Seen at home (DVD), London, Saturday 18 July 2020.

Passe ton bac d’abord (aka Graduate First, 1978)

Not all my favourite films of the year are new films, and I’m always discovering films from the past to love. The BFI ran a small season dedicated to French post-New Wave director Maurice Pialat, and this 1978 piece — a follow-up of sorts to his L’enfance nue of 10 years earlier — was one that I managed to catch on the big screen, though all his films that I’ve seen have had much to commend them.


The title suggests the (sadly rather well-worn) genre of ‘old man director wags his finger at the teens for not applying themselves’ and I suppose there would be something to that. After all, it’s about a bunch of late-teenage kids studying for their university entrance exams, who seem largely less than interested in such high-minded educational application and — as teens are in movies everywhere — more interested in making out with one another, or smoking, or just hanging out. Some of them have jobs (not great jobs), some of them have dreams and plans, some just settle down because there’s little else to do and very few options in their small French town. I’d say what elevates it above run-of-the-mill coming-of-age exploitation is the sensitivity with which these situations are played out, and (title aside) the general lack of judgement that seems to be passed here. Everyone is played naturalistically and there’s no forced narrative that pushes everyone into particular places. Indeed it feels like it evolves in an almost documentary manner, in a way that’s both true to the characters and ultimately satisfying, though without tying everything up neatly.

Passe ton bac d'abord film posterCREDITS
Director/Writer Maurice Pialat; Cinematographers Pierre-William Glenn and Jean-Paul Janssen; Starring Sabine Haudepin, Philippe Marlaud; Length 86 minutes.
Seen at BFI Southbank (NFT1), London, Sunday 10 November 2019.