Paris, mid-90s, summer. Louise has just left the clinic having woken up from a five-year-long coma, and finds she inherits a house from her aunt as well a family plot involving her father.
Personal cinematographic trilogy with which the filmmaker bids farewell to his recently deceased friend and artist-colleague Lucebert.
In Brussels, on a day in April in 1968, Michèle, a 15-year old school girl, decides never to set foot in school again. In the cinema, she meets Paul, a twenty-year old Frenchman who has similarly decided to never again set foot in his army base.
“Walking, in particular drifting, or strolling, is already – within the speed culture of our time – a kind of resistance. Paradoxically it’s also the last private space, safe from the phone or e-mail. But it also happens to be a very immediate method for unfolding stories.
“And indeed, Denis’s sixty-four-minute film, U.S.
“Lou n’a pas dit non is the title of a film by Anne-Marie Miéville. “How’s life?” one of the characters asks. After Rilke, Nietzsche, Plato and Hannah Arendt, the birds can still sing when you are walking in the forest. And there is a lot of walking in Anne-Marie Miéville.
“Originally planned as a ‘comedy’ about romantic isolation à la Eric Rohmer’s Le Rayon Vert (1986), the mordantly titled Vive l’amour indeed retains the skeleton of its inspiration – a woman’s emptied life, the interminable pregnancies of happenstance, an eleventh-hour glimpse o
Kiarostami takes meta-narrative gamesmanship to masterful new heights in the final installment of his celebrated Koker trilogy.