Originally planning to treat myself on my birthday on February 9th by signing up to it, an advert on YouTube was too tempting, and led to me signing up to Mubi.
Arriving home after a bit of a rubbish day,I decided to cheer myself up, by watching something on Mubi for the first time (I had signed up a week ago.) Knowing nothing about this title, I got ready to meet the couple.
View on the film:
Flickering back and fourth between the middle and the aftermath of the relationship, the screenplay by writer/directing auteur Guy Gilles (who tragically died from AIDS at just 57 years old) pans along the couple with a magnetic stream of consciousness via Jeanne layering her memories of the romance one on top of the other like photographs, which Gilles pairs up with the melancholic mutterings from Jean, who looks across in the aftermath, as the relationship fades into the distance.
Dovetailing the stages of Jean and Jeanne's romance, director Gilles & The Creatures (1966-also reviewed) cinematographer Willy Kurant skillfully weave between grainy black and white with shimmering bursts of colour,as French New Wave (FNW) jump-cuts and superimposition dissolve to a pensive atmosphere of Jeanne (played with an exquisite passion by Macha Meril) exploring shattered segments of her romance with Jean, (played with a great wear and tear weight by Patrick Jouane) which Gilles brings into focus with FNW ruby reds and dashing pinks darting across the screen, skillfully emphasizing in flashbacks the colour Jeanne now feels she had in life,during her romance with Jean.
Arriving home after a bit of a rubbish day,I decided to cheer myself up, by watching something on Mubi for the first time (I had signed up a week ago.) Knowing nothing about this title, I got ready to meet the couple.
View on the film:
Flickering back and fourth between the middle and the aftermath of the relationship, the screenplay by writer/directing auteur Guy Gilles (who tragically died from AIDS at just 57 years old) pans along the couple with a magnetic stream of consciousness via Jeanne layering her memories of the romance one on top of the other like photographs, which Gilles pairs up with the melancholic mutterings from Jean, who looks across in the aftermath, as the relationship fades into the distance.
Dovetailing the stages of Jean and Jeanne's romance, director Gilles & The Creatures (1966-also reviewed) cinematographer Willy Kurant skillfully weave between grainy black and white with shimmering bursts of colour,as French New Wave (FNW) jump-cuts and superimposition dissolve to a pensive atmosphere of Jeanne (played with an exquisite passion by Macha Meril) exploring shattered segments of her romance with Jean, (played with a great wear and tear weight by Patrick Jouane) which Gilles brings into focus with FNW ruby reds and dashing pinks darting across the screen, skillfully emphasizing in flashbacks the colour Jeanne now feels she had in life,during her romance with Jean.