Cold Water

I'm not saying it's a bad film, but it definitely isn't great. It's awkwardly filmed, the actors don't deliver any emotion. It's somehow.... dull. For a movie which should explode with emotion, this one just doesn't deliver. It has a good soundtrack, a good story (though very common), but the rest is blank. Not even the lines are worth any attention. I understand this is a low budget, independent film, but unlike others I've seen, it didn't get my attention.

Assayas is a great director, and while this isn't my favorite of his films (right now its between "Clouds of Sils Maria" or "Summer Hours"), it still deserves a five star rating. The characters in this film are deeper and more interesting than 90% of the coming of age stories out there, and the lessons they learn aren't at all tawdry. For our full review of Cold Water and hundreds of other reviews, articles, and podcast episodes visit us at True Myth Media!

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.

I would have thought by now I couldn't be haunted by yet another film about teen-age lovers and outsiders. Yet Assayas' lovely and bleak "Cold Water" is a valuable entry into this crowded, but rarely truly insightful field.

It's 1972. Touching on class, racism and other issues, the film follows Christine and Gilles, who live on the outskirts of Paris. Both are delinquents, indulging in petty crime and feeling outside society. But while Gilles has at least some care and support at home, Christine has a father whose only reaction to her confusion and pain is to lock her away in mental institutions. It's hard to tell where Christine's vicious cycle began. She's clearly unbalanced, but was that inevitable? Or has the act of imprisoning her, ignoring and drugging her pain, not only failed to treat her troubles, but actually caused them?

Assayas manages to take two lost, inarticulate heroes, and make us not only care about them, but identify and see ourselves in them. You don't have to have an adolescence nearly this extreme to understand the kind of inarticulate ache and anger of youth.

Not every moment works, and it could be argued that even at 90 minutes the film can feel too long for its very simple story. But whenever a film-maker takes an overused subject and finds something new to say about it, you have to take notice.

Frustratingly it continues to be unavailable in the U.S. on DVD, blu-ray or for legal download or online viewing. Given the film's excellent reputation, I can only assume that has to do with the expense of rights to the film's amazing soundtrack of 1970s music.

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.