Le chignon d'Olga (2002)

Réalisateur:

Jérôme Bonnell

Scénariste:

Jérôme Bonnell (writer)

Date de sortie:

28 août 2002 (France)

Genre:

Comedie | Drame | Romance

Plot Keywords:

Character Name In Title

Récompenses:

1 win & 1 nomination

Avis des utilisateurs:

Convincing insights into lives and dramas of early twenty-somethings

Ensemble

Hubert Benhamdine	...	Julien
Nathalie Boutefeu	...	Alice
Florence Loiret	...	Emma (as Florence Loiret-Caille)
Serge Riaboukine	...	Gilles
Marc Citti	...	Pascal
Antoine Goldet	...	Basile
Valérie Stroh	...	Nicole
Clotilde Hesme	...	Marion
Jean-Michel Portal	...	Grégoire
Bernard Blancan	...	Yves
Fabrice Cals	...	Ludovic
Isabelle Ungaro	...	Pascal's wife
Delphine Rollin	...	Olga, la libraire
Grégory Gadebois	...	Gregoires brother
Judith Rémy	...	La barmaid

Autre(s) titre(s):

Olga's Chignon (International: English title) (UK) (subtitle)

Durée:

96 min

Pays:

France | Belgium

Langue:

Français

Couleur:

Couleur

Rapport de forme:

1,66 : 1

Son:

Dolby SR

Classification:

France:U | Switzerland:12 (canton of Geneva) | Switzerland:12 (canton of Vaud) | UK:15

Lieux de tournage:

Chartres, Eure-et-Loir, France

Société:

Artcam International

Connexions De Film:

Références The Circus (1928)

Convincing insights into lives and dramas of early twenty-somethings

This is a remarkably fresh, charming, and genuine work by a director, Jerome Bonnell, who was only 23 at the time. Whatever mastery of cinema craft he may have lacked then, he more than made up for in his ability to wring the most amazing performances from extremely young actors and actresses. The most staggeringly brilliant performance in the film is by Nathalie Boutefeu, as the character Alice. Boutefeu passes through a bewildering range of shifting emotions and moods with the scintillation of sunbeams on water. It is one of the most remarkable performances of someone of that age which I have ever seen. There seems to have been a deep resonance between her and the director to give her the confidence to expose herself so completely to the camera, holding back nothing. Not surprisingly, Bonnell has gone on to make two further films with her. Who wouldn't? Another amazing performance is that given by Florence Loiret as Emma, whose moods shift almost as violently, as she grieves for her deceased mother, wants to leave her father but cannot, almost has an affair with her lesbian friend but cannot, almost cries but laughs, almost laughs but cries, and so on. None of this is in the slightest bit contrived, because this is how people of that age mostly are, and who better to direct them in a film than someone of the same age who may even be that way himself, for all we know? All of the performances are excellent. One especially charming and delightful minor performance is that delivered by the little boy, Antoine Goldet. It is a pity he has not appeared in another film. He was inspired casting. This is a film which is languid and lingering, dwelling on the faces of the characters without concern for the need to rush off and look at another character. The emotional tangles and knots, the 'presence of the absence' of the dead mother which is palpable and felt at all times in her household, the quarreling and the disputes, the making-up, the alienation, and the coming-together, the love both spoken and unspoken, the heartbreak, all of these are magnificently conveyed in this artless and natural movie, which gives the impression of having been thrown over someone's shoulder like a girl's handbag, so effortless does it all seem. It's easy for some!