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Maurice Pialat

wilder · 22 · 6961

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wilder

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Reply #15 on: October 27, 2018, 06:07:52 PM


wilder

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Reply #16 on: March 26, 2020, 01:58:27 PM
Coming to The Criterion Channel April 19th:

L’amour existe (1960)
L’enfance nue (1968)
We Won’t Grow Old Together (1972)
The Mouth Agape (1974)
Graduate First (1979)
Loulou (1980)
À nos amours (1983)
Police (1985)
Under the Sun of Satan (1987)
Van Gogh (1991)


Drenk

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Reply #17 on: March 26, 2020, 02:50:06 PM
My fav:

L'enfance nue
Loulou
À nos amours
Van Gogh

L'amour existe is a fantastic short about the suburbs.
Ascension.


jenkins

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Reply #18 on: March 26, 2020, 03:37:20 PM
I’d specifically recommend Loulou as a starting point for the uninitiated. Although you can’t go wrong with Pialat. If you’re the type of person who gladly suffers bleakness Under the Sun of Satan is there for you, and if you’re not that type of person just avoid it


eward

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Reply #19 on: March 26, 2020, 04:36:30 PM
Only seen three of those, eager to tear through the rest.


wilder

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Reply #20 on: April 07, 2020, 02:08:52 AM
I don't know what happened with the dates, but they're all up there, now.


wilder

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Reply #21 on: December 11, 2020, 05:07:05 AM
October 7, 2020

Le garçu (1995) on blu-ray from Gaumont (France). Includes English subtitles.



Antoine is four years old. His father Gerard leaves his mother Sophie. Gerard has several mistresses, but never knows how to leave them. Sophie takes a new lover, Jeannot.

Quote from: IMDB user conannz
Regardless of whether one thinks it is an autobiographical film there are moments when the camera really does disappear and other times when you hope for the director to yell Cut! Depardieu as the father character seems at times, bemused, confused, very selfish and plain unlikeable as he tries to connect with his son who by contrast is oblivious and completely in the present as 4 year olds often are.



October 7, 2020

L'Enfance Nue (1968) on blu-ray from Gaumont (France). Includes English subtitles.



Michel Tarrazon plays the young François, a provincial orphan whose destructive behaviour precipitates his relocation from the home of a long-term foster family to the care of a benevolent elderly couple. In the course of this transition, Pialat’s film presents the turbulence of François’s unmoored existence, and his explosive reactions to the contradictory emotions it engenders. This is the naked portrait of a soul’s — and an entire society’s — dysfunction, before the moment of reconciliation.