L'eau froide

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.

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.

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.

To answer the previous reviewer's question: Yes. Thus the title.

I had the same reaction to this Olivier Assayas study of two disaffected teens as I had to the director's later "Irma Vep", namely that it is a sometimes touching, often tedious film. There is a reason that the great early to mid seventies soundtrack stays in one's consciousness and invites almost universal praise among my ten IMDB colleagues below and that is because it is the only part of the film that is fully alive. Everything else feels slow and drawn out. Scenes tend to last too long and not do enough, like the police interrogation of Christine that takes way too long to establish the fact that she hates her father and that interminable pot/sex party which is where I'm fairly certain I would have pulled the plug were it not for Bob Dylan, Alice Cooper and Janis J. I will, say, however, that the ending is quite powerful. That empty piece of paper says it all. And I do not think I would have been as blown away by this bleak denouement without the fine performance of Virginie Ledoyen as the unhappy, angry Christine. And since Ledoyen was 18 when she did the movie, I guess you have to credit Assayas at least partly for her excellent work. Give it a B minus.

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.