L'eau froide

Taking a low-key approach to events that are only earth-shaking to the people involved, Asseyas has made something beautiful and moving from the lives of teenagers not that different from everyone else. The inevitable tragedy plays out with complete naturalness. And the entire sequence of the party at the empty house, rhythmed by the music, is breathtaking.

It's early 70's. Troubled teens Christine (Virginie Ledoyen) and Gilles (Cyprien Fouquet) are star-crossed lovers. She has a problematic relationship with her dad. She gets caught shoplifting while he escapes. She escapes from juvenile detention while he starts playing with dynamite. She convinces him to leave for an artist commune as they walk into the deep woods off the grid.

Olivier Assayas directs this personal indie as he grows into a strong voice in French cinema. The male lead is a bit of a blank but that's fine for the role. Ledoyen cements herself as a promising new actress in this film. She has a gorgeous and open look. She pulls in the audience. I expected Gilles to do something with the dynamite. His side of the story is a little disappointing that doesn't go to its full potential. The ending leaves the threads untied and their relationship uncertain. These are two young hot people in love but the future is no happily ever after. It's left hanging and that's how I felt. I'm uncertain about these kids and this movie.

I really hadn't expected much of this movie when I saw it in Brooklyn last summer. But, as a coming of age story, it's one of the few ones that really hits home for me. Cold Water is just such a frustrated, restless film, neither condemning nor forgiving its self-involved children and inadequate parents. It's fair in that way, which is refreshing. I'm tired of hearing rich kids get a lot of breaks and tired of hearing the Richard Fords explain away their parenting mistakes.

Visually, it's not a terribly structured or naturalistic film, and maybe that's why it seems to be so right on. The frenetic energy and seeming meaninglessness of the individual shots really conveys the frustration that comes from having the faculties of an adult, but none of the powers. Those shots come together in these long, slow sequences . . . small town livin'. There's a seeming, but deceptive, plotlessness that drew a lot of recognition from me.

You shouldn't miss the party scene. Man, that brings back memories. Pure recklessness, and listening to CCR over and over and over.

What a splendid film. I was amazed only just now to discover the, oh so 70s set film, was made as recently as the 90s. Clearly the work put in by Assayas in his early films, where he clearly struggled against the odds and low budgets to get his feelings across have culminated to bare fruit here. Not 100% clear all the time yet the feeling is always right, we believe even if we do not understand fully, the actions and the motivations. Sadness, anger, loss and revenge lurk but a youthful energy raises this up and despite our struggles with the sense of the odd scene we find ourselves prepared for the ecstasy of the 70s music and drug fuelled trance like bonfire sequence at the centre of this extremely well made film. From there things become a little more predictable even if we find ourselves hopelessly in denial, like the characters portrayed so beautifully before us. Marvellous.

I'd be lying if i said this didn't surprise me a bit. The first act seems geared to distinctly build toward something with heightened emotions and portent of major teenage rebellion; the second act kind of drops narrative flow and just shuffles sideways to the next loose "story beat" before the third resumes active storytelling. True, this was Olivier Assayas' first feature, and even with rough edges and a sense of uncertainty, not knowing entirely what tone it aimed to strike, one can see how he went from this to some of the other pictures he'd go on to make. I just didn't expect that what mostly comes off as a stark portrait of teen angst and free-wheeling defiance would have prominent moments that deviate from that apparent core, and that try to stitch on intimations of more plot that seems a tad ill-fitting. I do like 'L'eau froide,' or 'Cold water,' and I think it's reasonably worthwhile, but it's not perfect or essential in any regard.

The chief strength here is in the relationship of fiery duo Gilles and Christine; the scene writing and narrative is unquestionably strongest where they and their relationship are centered. That's a credit as well to stars Virginie Ledoyen and total unknown Cyprien Fouquet, who both inhabit their characters with natural ease and admirable spirit, rather easily keeping us engaged in the process as the tale progresses. What's regrettable is that where this steps away from that primary thrust, and their directionless rejection of the strictures that are laid out for them, it meanders and kind of languishes. This is especially unfortunate considering how well made the film is at large. Even where the whole falters it's ably crafted, with adept scene writing and performances; would that they could have been woven in more convincingly. Assayas demonstrates firm, calculated direction, and Denis Lenoir's smart, dynamic cinematography actually quite stands out as a highlight. The soundtrack is filled with great tunes, the sound department turned in impeccable work, the filming locations are excellent - not least in communicating the pair's isolation and lack of preparation - and in every other manner 'L'eau froide' boasts appreciable skill and care.

I should say, too, that the overall narrative is duly compelling in relating the misadventures of Gilles and Christine; Assayas' screenplay is generally pretty fantastic. The writing needed to be more tightly focused, however, and that truth is borne out in the notably weaker scenes of the first and mostly the second acts. Thankfully what we want is mostly what we get, so while the feature had room for improvement, it's definitely better than not. And as Assayas has done elsewhere to great success later in his career (e.g. 'Personal shopper' and especially 'Clouds of Sils Maria'), he mostly keeps the proceedings rather low-key to let the plot speak for itself. By no means is this something that will appeal to all comers, or meet with equal success for all, and even without particular deficiencies I don't think this was ever going to be a major must-see. Yet while my expectations were mixed and were met unevenly, I'm pleased that I enjoyed 'L'eau froide' more than not, and it's a fair beginning for Assayas' career. Temper your expectations and don't go out of your way for it, but if you do have the chance to check this out, it's a decent way to spend one's time.