I see where the reviews below are almost equally divided between Varda lovers and haters. So let me perversely fall somewhere in the middle with perhaps a slight predilection toward the adoration side of the spectrum.
God knows the haters' case is easy to make. Exhibit A is the bad acting from the subsidiary members of the cast. I mean the gal who plays the waitress friend of the mom and the guy who plays her ex are so stiff and without nuance in their line deliveries it is almost as if Varda directed them to be crappy. And exhibit B is that pseudo profound narration by the mom which Varda wisely soft peddles about halfway through, as if she realizes it's boring as hell to listen to.
But, hey, I lived in pre gentrified Venice at about the time this thing was made and it really took me back, so I'm pre disposed to like it. And as lousy as the co stars were the two leads, played by Varda's kid Matthieu Demy and especially Sabine Mamou, were excellent. And finally, and most importantly, I was taken by the film's understated, but stronger for that, message of indomitability in the face of adversity. Quite a stark contrast with the working single mom protagionist of "Jeanne Dielman", directed by the current darling of the avant garde, Chantal Akerman, whose instinct, first last and always, is to give up.
Give it a B minus.
God knows the haters' case is easy to make. Exhibit A is the bad acting from the subsidiary members of the cast. I mean the gal who plays the waitress friend of the mom and the guy who plays her ex are so stiff and without nuance in their line deliveries it is almost as if Varda directed them to be crappy. And exhibit B is that pseudo profound narration by the mom which Varda wisely soft peddles about halfway through, as if she realizes it's boring as hell to listen to.
But, hey, I lived in pre gentrified Venice at about the time this thing was made and it really took me back, so I'm pre disposed to like it. And as lousy as the co stars were the two leads, played by Varda's kid Matthieu Demy and especially Sabine Mamou, were excellent. And finally, and most importantly, I was taken by the film's understated, but stronger for that, message of indomitability in the face of adversity. Quite a stark contrast with the working single mom protagionist of "Jeanne Dielman", directed by the current darling of the avant garde, Chantal Akerman, whose instinct, first last and always, is to give up.
Give it a B minus.