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À nos amours

  • 1983
  • R
  • 1 घं 39 मि
IMDb रेटिंग
7.1/10
7.6 हज़ार
आपकी रेटिंग
Sandrine Bonnaire in À nos amours (1983)
An erratic young woman's family desperately tries to prevent her increasingly erotic ways.
trailer प्ले करें1:25
1 वीडियो
65 फ़ोटो
कमिंग ऑफ़-एजड्रामापीरियड ड्रामारोमांस

अपनी भाषा में प्लॉट जोड़ेंAn erratic young woman's family desperately tries to prevent her increasingly erotic ways.An erratic young woman's family desperately tries to prevent her increasingly erotic ways.An erratic young woman's family desperately tries to prevent her increasingly erotic ways.

  • निर्देशक
    • Maurice Pialat
  • लेखक
    • Arlette Langmann
    • Maurice Pialat
  • स्टार
    • Sandrine Bonnaire
    • Maurice Pialat
    • Christophe Odent
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDb रेटिंग
    7.1/10
    7.6 हज़ार
    आपकी रेटिंग
    • निर्देशक
      • Maurice Pialat
    • लेखक
      • Arlette Langmann
      • Maurice Pialat
    • स्टार
      • Sandrine Bonnaire
      • Maurice Pialat
      • Christophe Odent
    • 28यूज़र समीक्षाएं
    • 46आलोचक समीक्षाएं
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
    • पुरस्कार
      • 4 जीत और कुल 3 नामांकन

    वीडियो1

    Trailer
    Trailer 1:25
    Trailer

    फ़ोटो65

    पोस्टर देखें
    पोस्टर देखें
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    पोस्टर देखें
    पोस्टर देखें
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    + 58
    पोस्टर देखें

    टॉप कलाकार30

    बदलाव करें
    Sandrine Bonnaire
    Sandrine Bonnaire
    • Suzanne
    Maurice Pialat
    Maurice Pialat
    • Le père
    Christophe Odent
    Christophe Odent
    • Michel
    Dominique Besnehard
    Dominique Besnehard
    • Robert
    Cyril Collard
    Cyril Collard
    • Jean-Pierre
    Jacques Fieschi
    Jacques Fieschi
    • Le beau-frère
    Valérie Schlumberger
    • Marie-France
    Evelyne Ker
    Evelyne Ker
    • La mère
    Pierre Novion
    • Adrien
    Tsilka Theodorou
    • Fanny
    Cyr Boitard
    Cyr Boitard
    • Luc
    Anne-Marie Nivelle
    • Mère Jean-Pierre
    Anne-Sophie Maillé
    Anne-Sophie Maillé
    • Anne
    Pierre-Loup Rajot
    • Bernard
    Jean-Paul Camail
    • Angelo
    Maïté Maillé
    • Martine
    Isabelle Prade
    • Solange
    Caroline Cibot
    • Charline
    • निर्देशक
      • Maurice Pialat
    • लेखक
      • Arlette Langmann
      • Maurice Pialat
    • सभी कास्ट और क्रू
    • IMDbPro में प्रोडक्शन, बॉक्स ऑफिस और बहुत कुछ

    उपयोगकर्ता समीक्षाएं28

    7.17.5K
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    फ़ीचर्ड समीक्षाएं

    Cristi_Ciopron

    Bitter,even poignant realism

    Being so restrained, blunt and straightforward, Pialat's film is also enormously touching. The concreteness of the world he creates here is tangible. Psychological realism true in each detail, and as ensemble. The brutal restraint is somehow disconcerting—being given the bad habits inflicted by the standard psychology of most other films. Pialat's project was a naturalist one, hence the impression of a thing just begun, just started, still in progress. (It would be, anyway, absurd and stupid to try reducing Pialat's implicit aesthetics to some theoretical statements and criticism's clichés.) What is obvious is that Pialat achieved his aim—finding the fourth dimension of this coming of age story. For me,Pialat might not be worthy of love; he is certainly worthy of respect. In his movies—not only in this one, but in several others as well—one finds not only probity—but also genuine power, inspiration, the strength of a secret master, Pialat. Good and serious director, keen psychologist, avid of femme's perfume and scent, intelligent and uncompromising.

    In psychology, Pialat rightly perceived the distances and the gaps and ,as it were, the laws of the perspective. In this movie, Pialat uses this sensational and hidden knowledge to tell the tribulations of a gamine.

    The amazing lead actress is worth seeing; with her, the film took one more chance at the ineffable.

    Any movie is made with elements,but it lives out of the rapports and the ideas.On the cinematographic elements' level,Pialat's movie is austere.There is no bit of stylization,but each element has a 4th. dimension:the rapports' level.This dimension is widened by the music.Purcell's suitable music gives the action a strange coherence.The movie is made out of relations,rapports,reflections.Far from being some kind of a flat realism,Pialat's movie lives entirely out of this wealth of thought.

    Most important,this strengthener,firm,intelligent,bitter,even poignant realism is not fake.

    A courageous decision is the refusal of all stylization.(The "cruel movie",the ferocious movie relies on stylization.)True realism means ideas,reflection,a lively mind.Far from being mechanical and passive,it is fertile and elastic.

    This movie is also a medicament.

    I find it disappointing that only 3 comments were written here for "À nos amours ".Also,the weighted average vote of 7.5 / 10 is unfair.

    Miss Bonnaire is a standout.Her cinema presence in "A Nos ..." surrounds the viewer.
    7tomgillespie2002

    Pialat juggles detachment and intimacy to intriguing effect

    15-year old Suzanne (Sandrine Bonnaire) is a precocious child, living with her mother, her career-driven brother, and her sometimes overbearing father (played by Maurice Pialat). She has recently split from her boyfriend and is intent on moving from man to man in search of sexual pleasures and guardianship. When her father splits from her mother and moves out, home life becomes unbearable as her mother and brother disapprove of her lifestyle. She is most comfortable in the arms of a man, be it one of her seducers or her father. Men seems to flock to her, as she is pretty, charming and is happy to accommodate her admirers.

    This is the second film that I've seen directed by French master Maurice Pialat, the other being the excellent L'Enfance Nue. They are both similar films in terms of themes and execution, and tell the familiar coming-of-age story from an original perspective. Whereas the former was a sledgehammer portrayal of a young juvenile causing havoc amongst the various foster homes he was placed, where redemption never seems possible, A Nos Amours' Suzanne is a more sympathetic lead character, and her journey is portrayed in a more subtle manner. While it would be shocking to hear of a 15 year old girl bedding a number of men, Pialat is more focused on what drives her to act this way.

    She is not a tease, and she doesn't flaunt her body to anyone who will look. Instead, she seems to simply enjoy the comfort of a man. When the father moves away, her home life falls apart and her bed-mates increase. Perhaps Pialat is trying to portray the impact an absent father can have on a child, or that all women need comforting every once in a while. Or maybe this is an individual character study, with no overriding message. What it most definitely is, though, is a wonderfully acted (especially from the young Bonnaire), intelligent, and intriguing film that has Pialat's usual cold detachment alongside a certain intimacy with the lead character.

    www.the-wrath-of-blog.blogspot.com
    lazarillo

    Kind of French "feminist lolita" movie with a strong performance by Sandrine Bonnaire

    This is the story of a teenage French girl (Sandrine Bonnaire) with a difficult home life. Both her father (who abandons the family) and her older brother (who regularly physically assaults her) seem to have an unnatural interest in her sexuality, while her mother (who may the worst of them all) is a raving hysteric who eggs everyone else on. Not surprisingly, the girl is quite promiscuous, availing herself of any number of boys and men. In an American movie like this, her male paramours would at best be panting dogs and at worst villainous cads taking advantage of a vulnerable girl, but here they're probably the most sympathetic people in the movie!

    The young girl is not unsympathetic by any means, but she simply refuses to be a victim and remains firmly in control, and no family member or lover ultimately seems to have much chance against her. She is similar to the kind of "feminist lolitas" that often appear in Catherine Breillat movies like "A Real Young Girl" and "36 Fillete"-- teen girls that are very desirable, but also wise beyond their years and in perfect control of their own sexuality, and thus never simply mere sex objects. It's surprising Bonnaire never worked directly with Breillat because she is a much more self-assured and commanding actress than any of the ones Breillat did work with. I don't know if I believe the IMDb dates regarding Bonnaire's age as her assured acting (and her nude body) suggest that she was somewhat older than the character she's playing here, but she's very impressive regardless. Interestingly, while she became a very formidable actress in her later years (especially in films like Claude Chabrol's "Initiation"), she would not really be one of your more glamorous and sexy French actress. She certainly compares well to her contemporaries at the time like Emmanuelle Beart and Sophie Marceau, but while they would become leading ladies, she stayed more of a character actress.

    Ironically, the one problem I had with the movie is that Bonnaire and her character is perhaps TOO self-assured and as an actress Bonnaire tends to dominate the rest of the cast too much. It might be a feminist statement to have young female protagonist who is this self-confident, but I don't know that it's necessarily very realistic.
    9sleestaker

    Notable, yet overlooked piece of French cinema

    For many, the lack of a defined storyline is maddening, often resulting in a less than satisfying experience. Almost stream-of-consciousness in its approach, Maurice Pialat's À Nos Amours does not appear to have much story structure, but the story is most definitely there and is related with a subtlety not often found in modern film.

    Bonnaire's portrayal of Susanne is brilliant (as others have said), and her almost wistful sadness permeates the performance. In one scene, her father (played by Pialat) says, "You never smile anymore," indicating the transformation of Susanne from innocence to experience. The men in her life are shown only for the time she is with them. There is neither introduction upon their arrival nor explanation as to their departure. Pialat uses this method to show Susanne's lack of emotional investment in these temporary romances.

    The only men who do return are her father, her brother, and Luc, her one real love. It is when she is with these men that she shows her true self, rather than the detached uncaring girl who sleeps around in an effort to replace them. The dialogue drives this film. There is little music, save the inspired use of Klaus Nomi's "The Cold Song". The sad wailing of Nomi's pseudo-operatic vocal against the opening credits of Susanne in the pulpit of a boat is a wonderful moment.

    Long out of print, this film is now available on DVD. It is deserving of a look by the discerning cinephile who may have missed it 25 years ago.
    Glenn-31

    This character study about a troubled, confused teenager follows her life into adulthood where she continues to have trouble with her relationships, as well as with her own identity.

    "The only time I'm happy is when I'm with a guy," says Suzanne, (Sandrine Bonnaire) a promiscuous and directionless teenager. Suzanne's parents are splitting up; her brother beats her as a disciplinary gesture in her father's absence; and her mother has control over nothing. Suzanne hangs out with her friends; sleeps with anyone she is attracted to (except the boy that loves her); and returns home for knock down, drag out fights with her older brother and mother. The last 30 minutes of the film skips quickly into Suzanne's life after marriage and jumps yet again to her life after divorce. The only person Suzanne loves is her father; perhaps because he is the only person who understands and unconditionally loves her. Fine direction from Maurice Pialat who also plays Suzanne's father. Excellent acting from most of the cast saves a somewhat meandering and overwrought script.

    इस तरह के और

    Nous ne vieillirons pas ensemble
    7.2
    Nous ne vieillirons pas ensemble
    La gueule ouverte
    7.3
    La gueule ouverte
    Sous le soleil de Satan
    6.7
    Sous le soleil de Satan
    Van Gogh
    7.1
    Van Gogh
    L'enfance nue
    7.4
    L'enfance nue
    Loulou
    6.6
    Loulou
    Passe ton bac d'abord...
    6.9
    Passe ton bac d'abord...
    Les veuves de 15 ans
    6.7
    Les veuves de 15 ans
    Le garçu
    6.6
    Le garçu
    Pauline at the Beach
    7.3
    Pauline at the Beach
    Sans toit ni loi
    7.6
    Sans toit ni loi
    La vie de Jésus
    7.0
    La vie de Jésus

    कहानी

    बदलाव करें

    क्या आपको पता है

    बदलाव करें
    • ट्रिविया
      In the original script, the father was due to die and was not scheduled to return at the time of the dinner scene. Maurice Pialat walked into the scene and left the actors to improvise in a situation they hadn't planned for.
    • गूफ़
      In the sequence with the American, Suzanne's outfit changes from a one-shoulder black dress with white stripes trimming just the top of the bodice, to a one-shoulder black&white striped top with a black skirt, and back again.
    • भाव

      Le père: You think you're in love, but you just want to be loved.

    • कनेक्शन
      Featured in Sebastian (2024)
    • साउंडट्रैक
      The Cold Song
      Henry Purcell (as Percell)

      interprété par Klaus Nomi

      disques RCA

    टॉप पसंद

    रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
    साइन इन करें

    अक्सर पूछे जाने वाला सवाल

    • How long is To Our Loves?
      Alexa द्वारा संचालित

    विवरण

    बदलाव करें
    • रिलीज़ की तारीख़
      • 16 नवंबर 1983 (फ़्रांस)
    • कंट्री ऑफ़ ओरिजिन
      • फ़्रांस
    • आधिकारिक साइटें
      • Gaumont (France)
      • Unifrance
    • भाषाएं
      • फ्रेंच
      • अंग्रेज़ी
    • इस रूप में भी जाना जाता है
      • À Nos Amours
    • फ़िल्माने की जगहें
      • Cité Bergère, Paris 9, पेरिस, फ़्रांस(Suzanne and Jean-Pierre looking for a hotel)
    • उत्पादन कंपनियां
      • Les Films du Livradois
      • Gaumont
      • France 3
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    Sandrine Bonnaire in À nos amours (1983)
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