I humbly write my first review here on IMDb. I like this film. I'm not sure if the tone of the film, which I find slightly comical, and slightly mocking, transitions well into the darker last act.
Denis Lavant is wonderful in this. He's got this pockmarked straight-faced look on his face, like he's going to play it cool, but wanders himself into worry without expecting anyone to notice. There's something harmless and good about him. He's got the physicality and body frame of a 15 year old acrobat, (and something of that spirit too) and like in his other films he expresses so much idiosyncratic personality through physicality.
Islid Le Besco is radiant and beautiful. In her quieter moments, because of how she's shot I suppose, she looks like some 17th century painting of a young woman, a sad classical beauty if you will, transformed from a pouty teenager. (See A Tout de Suite for an even finer performance.) I think that's partly what's going on in this film. She likes being looked at. She wants to be immortalized. And he knows that everybody looks at him with disdain. What a lovable schlub.
What an odd and interesting pairing of Le Besco (who's taller and sexy and much younger) with Lavant who acts like a furrowed Buster Keaton. There's interest and energy in seeing Lavant stick up for Le Besco in a rather steely noble way, (she's delighted,) and take her sailing, with a crew of student sailors humorously watching their flirtation as if it's elevated on a stage.
I like the setting, a lake resort for camping families. It's colorful, with colorful extras peeking around corners, and warmer in palette, more in the sense of a summer idle than a lurid thriller. There are small details of environment I like: a perfect late evening cloudbank on the distant horizon, or Islid Le Besco being fetching and half nude next to ominous green waves as Lavant, treelike, looks on. I suppose its sincere, (or slightly funny) if a little shop worn, and an excuse for archetype and fantasy.
The story ultimately follows perhaps the requisite of its genre. There could have been a more interesting, if mundane, development of the story into its final 30 minutes, and yet it still works for me since I'm interested in the actors, and I circle around them, and so does the film with a modicum of energy and style. In its final camera take I reflect that I'm glad Lavant and Le Besco make movies. I'm better off for it.
Denis Lavant is wonderful in this. He's got this pockmarked straight-faced look on his face, like he's going to play it cool, but wanders himself into worry without expecting anyone to notice. There's something harmless and good about him. He's got the physicality and body frame of a 15 year old acrobat, (and something of that spirit too) and like in his other films he expresses so much idiosyncratic personality through physicality.
Islid Le Besco is radiant and beautiful. In her quieter moments, because of how she's shot I suppose, she looks like some 17th century painting of a young woman, a sad classical beauty if you will, transformed from a pouty teenager. (See A Tout de Suite for an even finer performance.) I think that's partly what's going on in this film. She likes being looked at. She wants to be immortalized. And he knows that everybody looks at him with disdain. What a lovable schlub.
What an odd and interesting pairing of Le Besco (who's taller and sexy and much younger) with Lavant who acts like a furrowed Buster Keaton. There's interest and energy in seeing Lavant stick up for Le Besco in a rather steely noble way, (she's delighted,) and take her sailing, with a crew of student sailors humorously watching their flirtation as if it's elevated on a stage.
I like the setting, a lake resort for camping families. It's colorful, with colorful extras peeking around corners, and warmer in palette, more in the sense of a summer idle than a lurid thriller. There are small details of environment I like: a perfect late evening cloudbank on the distant horizon, or Islid Le Besco being fetching and half nude next to ominous green waves as Lavant, treelike, looks on. I suppose its sincere, (or slightly funny) if a little shop worn, and an excuse for archetype and fantasy.
The story ultimately follows perhaps the requisite of its genre. There could have been a more interesting, if mundane, development of the story into its final 30 minutes, and yet it still works for me since I'm interested in the actors, and I circle around them, and so does the film with a modicum of energy and style. In its final camera take I reflect that I'm glad Lavant and Le Besco make movies. I'm better off for it.