Sonntage mit Sybill

Just remembered the title: "Sunday and Cybel".

This film had a major haunting impact upon my life.(Boston 1962)

What a beautiful story and "Sunday and Cybel" needs to be preserved on DVD.

The childlike trust, and human bond that develops between two "wounded human beings" without a hint of inappropriate sexuality, needs to be seen again and again.

I was deeply pleased, that others have found this film as lovely as I did. It warms my heart to see others recognize such tender humanity between a child and an adult.

"David and Lisa" has a similar sense of love between damaged Souls, out of darkness into the light of emotional "healing".

Being a family psychotherapist, only restores my faith in the psyche to find love in a cruel world of distrusting authorities who only know how to kill flies with hammers, and destroy people they do not understand.

Bravo to the perfect cast, direct and writers, with brilliant cinematographer, to enrich the story into a rare masterpiece. VSS

A remarkable film with an astonishing capacity to touch your heart and open your mind. A refreshingly original story that doesn't lapse into exploiting potentially "adult" themes.

Hardy Kruger succeeds in taking you with his character into his child like view of the world (caused by shell shock in Indochine). Patricia Gozzi is a rare child actress whose performance is completely free of the usual self-conscious effort found in recent films. Entire cast is strong.

The black and white cinematography is amongst the best I've ever seen. The camera seems remarkably aware of textures and temperatures. Some images are reminiscent of Ansel Adams' silver gelatin prints. Don't miss any opportunity to see this rare gem of a film. The characters, stories and images will follow you for a long, long time. It will make you wish that Director Serge Bourguignon had a much longer filmography.

I loved this movie so much that my husband and I held our small wedding lunch at the Cabassud restaurant in Ville d'Avray, on one of the two lakes painted so often by Corot and featured prominently in the film. Several years later, when my daughter married, we held a much grander wedding party for her in the same place, attended by many members of the French film colony. It happened to be the evening of the annual Ville d'Avray festival, and quite unexpectedly a procession of people carrying torches appeared out of the night to march around the lake. The wedding was as magical as the film that inspired it. Sadly, I think the film has been mostly forgotten in the United States, but one that can inspire so much romance should be revisited.

Hello to all the other lovers of this stupendously beautiful film, wherever you may be in the world. This is not a review as such, other than to say that "Sundays and Cybele" is without doubt the most exquisite, heartbreaking, sublime, delicate, moving and transcendental movie ever created. The purpose of this 'post' is to let you all know that, way down-under here in Melbourne, Australia, I am the fortunate owner of a 16mm cinemas-cope print of this absolute masterpiece. My email address is displayed above. You are welcome to email me personally. If there is ever a possibility that you could get to beautiful Melbourne, I would be proud and delighted to screen the film for you. I myself have resisted the temptation to acquire the film on video...that would seem only to trivialize it, by reducing it to the same size (& therefore stature) as television programs. It is a film to be enjoyed on the big screen and I am doubly fortunate, because there is a small cinema here in Melbourne, seating about 50, which I hire out on those occasions when I can't wait another day to see the film. At the present rate, I screen it about 4 or 5 times a year, sometimes just with myself and 1 other, sometimes with an invited audience of 15 or 20. If at any time any of you readers of this communication would like to take the trouble to journey to Melbourne, Australia, I would gladly run the movie for you, at no cost to you. When I meet you, I will also proudly show you Hardy Kruger's autograph to me, written on an original A4 size poster for the film, which, as a reckless teenager, I stole from its display case on the final day of its big screen season here in Melbourne (in 1964). 14 years later, in 1978, I was lucky enough to meet Hardy when he came to Australia to promote a film he made here ("Storm Boy"). And guess what he said to me when I unrolled the poster and asked if he would sign it? "Ah, my favorite film!!". I am like many of you...I have been haunted, inspired, intoxicated, transported in ecstasy, plunged into the deepest of despair by that extraordinary film ever since. It is an unforgettable encounter with great beauty. Let me know if you can come here to see it. We'll have a wonderful evening. Peter Byrne, Australia.

A beautiful film, in terms of both images and story. This very sweet - but never sticky -and slightly disturbing story of a platonic 'love affair' between a psychologically damaged, almost child-like ex-soldier and an emotionally abandoned 12 year old girl is deeply moving, honest, and just creepy enough in terms of in nascent sexuality hovering around the edges of the relationship to keep us from feeling too at ease. Shot in gorgeous black and white, with great use of shadows and silhouette, the images are both beautiful and mysterious -- as is the film's central relationship.

Hardy Kruger is excellent as the amnesiac soldier who has the feeling he's done something awful, but doesn't know what, or how to atone for it (we know more, having seen a dream- like flashback of his war experiences to open the film). He is lovable and sad, but we sense there's always a danger this man could lose control and cause damage without meaning to. And Patricia Gozzi is remarkable as the young girl, bringing an almost frightening amount of pain to this hurt character, and never feeling like a kid faking it for a film. There's a complex honesty to her performance combining hurt, innocent joy, emotional need, the first flickers of adult sensuality and manipulativeness, and yet a child's open heart that any seasoned actor would envy.

The film does telegraph where its headed more than once, but somehow it doesn't matter very much. It's the humanity of the telling rather than any surprise twist that makes the film work so well. We root for this odd pair to be able to maintain their bond in the face of a grown up world that doesn't understand how much these two damaged souls need each other and is, as one character puts it, afraid of any love that doesn't fit into nice neat categories. Beautifully made and haunting, it won the Oscar for best foreign film in 1962.