Les jeux de la comtesse Dolingen de Gratz

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Carol Kane in Les jeux de la comtesse Dolingen de Gratz (1981)

Ajouter une intrigue dans votre langueIn Paris, a young woman, Louise visits her old friend, Nena in a psychiatric clinic, who tells her that she has just finished a novel about a girl who committed suicide. She begins to read, ... Tout lireIn Paris, a young woman, Louise visits her old friend, Nena in a psychiatric clinic, who tells her that she has just finished a novel about a girl who committed suicide. She begins to read, and the events of the novel are bizarrely intertwined with the life of Louise herself, who... Tout lireIn Paris, a young woman, Louise visits her old friend, Nena in a psychiatric clinic, who tells her that she has just finished a novel about a girl who committed suicide. She begins to read, and the events of the novel are bizarrely intertwined with the life of Louise herself, who is experiencing a severe depression. The reality in her mind changes places with imaginat... Tout lire

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6,2/10

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Récompenses
- 2 nominations au total

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+ 4

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9jromanbaker

A film that should have had a better release.

This film ran for 26 weeks in the Rue de la Harpe. It was clearly a film to see and yet as far as I know it was not released more widely and to my knowledge was not seen in the UK. I will not spoil the pleasure of seeing it as it deals with a subject that would probably offend some viewers. At the time of writing it can be seen on YouTube and in its original French with English subs. See it if you can as it is one of the most visually beautiful films to be made in France. A France that is probably more liberated sexually ( 1981 ) than it is now. The direction by Catherine Binet is excellent. and its Gothic, yet realistic content is perfectly balanced and for me totally accessible. There is a sort of magic in the whole concept and the revolt against the wealthy and the poor in mind is beautifully played out by Carol Kane. I loved it because something is held back, and I wondered if that something was the oppression of those who dare express what they desire and feel. A definite 9 and not a 10 because the great Emmanuelle Riva is given so little to do.

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Anecdotes
Katia Wastchenko was attached to the project after Catherine Binet met her mother, Belgian poet and biographical writer Françoise Lalande, at a conference in Brussels; she saw a resemblance between the girl and Sanda. Lalande describes the filmmaker as "a difficult woman, but a true artist", whose approach on set was "obsessive, demanding, attentive to every detail". Nonetheless, Wastchenko remembers the making of the film as "an enjoyable experience", and describes Binet and the rest of the crew as "very kind". Although she had not read 'Sombre Printemps' and was, at the age of 12, "too young to be curious or interested about Unica Zürn's life", Wastchenko recalls that Binet "took the time to explain to her the context of the most 'sensual' scenes", and helped her to approach the role by confiding some of her own childhood memories.