A Nos Amours (Masters of... View large image
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Film Details

Directed by: Maurice Pialat

Produced: 1983

Countries & Regions: France

DVD Details

Certificate: 15

Length: 94 mins

Format: DVD

Region: Region 2

Released: 22 March 2010

Cat No: EKA40292

Extras:
Languages(s): French
Subtitles: English
Interactive Menu
Screen ratio 1:1.66

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A Nos Amours (Masters of Cinema)

Cast: Cyril Collard , Sandrine Bonnaire , Evelyne Ker , Maurice Pialat , Pierre Novion , Jacques Fieschi , Dominique Besnehard , Christophe Odent , Valerie Schlumberger , Tsilka Theodorou

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Psychological coming-of-age drama from director Maurice Pialat. 15-year-old Suzanne (Sandrine Bonnaire) is sexually promiscuous with any... Read More

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Psychological coming-of-age drama from director Maurice Pialat. 15-year-old Suzanne (Sandrine Bonnaire) is sexually promiscuous with any boy that takes her fancy. A seemingly free spirit, Suzanne’s life is thrown into chaos when she learns of her beloved father (Pialat)’s decision to abandon his wife for another woman. With her mother (Evelyne Ker)’s mental health deteriorating rapidly, escalating violence within the family soon leads Suzanne to face some hard life lessons.

“Has any actress made a debut of such force as Sandrine Bonnaire in À nos amours … here was a phenomenon of acting”. So wrote critic David Thomson, and 25 years later, the praise is still warranted. This is a portrait of adolescence like no other, raw and uncomfortable, and the 15 year-old Bonnaire’s performance as a sexually promiscuous teenager living with a frequently monstrous mother and brother following the departure of her father (Pialat himself) is startling in its honesty.

A synopsis of the film could make A nos amours sound bleak, but the flashes of benevolent humanity - most notably a late night chat between Bonnaire and Pialat - show the characters at their warmest, and even the least sympathetic characters, such as the hysterical mother and the boorish son, never become mere grotesques. Pialat’s approach has been compared to both Ken Loach and John Cassavetes, and while the parallels are understandable (especially the improvised passages and the rawness of emotion), his expert handling of actors and moving moments of optimism are all his own.

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