Un amour de jeunesse

One of the first things you notice in Mia Love-Hansen's film, 'Goodbye First Love', is that the supposedly fifteen year old protagonist looks much older; it turns out, there's a reason for this, which is that the drama is going to follow her over several years, so the age of the actress was necessarily a compromise. In fact, the film is conceptually not dissimilar (though heterosexual, and less generally ambitious) from 'Blue is the Warmest Colour': a sensitive and well-drawn story about a talented, attractive young woman whose life is overshadowed by the memory of an intense early relationship. As in real life, when someone is pointlessly in love with someone who does not desire them, you partly want to scream "get over it!", especially when they have obvious advantages they could be exploiting; but humans aren't that simple, although the ending is a touch underwhelming, the story is nicely observed. And if you generally like emotional films about beautiful young Parisiennes, you'll like this one too.

I enjoyed this French drama. Hansen-Love seems very influenced by French New Wave filmmakers, such as Rohmer. The English title is poor since it gives away a plot line. The French title in English is A Love of Youth, or more freely A Teen Romance. It does manage to capture that interesting relationship, however it goes into other directions as well. For those who like indie/ art-house French dramas, Hansen-Love's work is well worth looking into.

There are some films where while you're watching them you feel like your not watching a film but a real event from a parallel universe where the actors are not actors but real people and you are watching them through a scope that are invisible cameras all around that realm, I felt that in Krzysztof Kieslowski's films and this film is one of them.

A film that takes you to the late 90's and the start of 00's without realizing it was made in 2011.

A love story showcase the viewing angle and the feeling an individual give to another individual, the misunderstanding and how people's feelings to each other are different than what they seem, a proven story that love never dies but it fades as you learn to live with it as you grow stronger and better than ever.

It's Paris 1999. Camille is 15 and Sullivan is 19 and they're in love. He's dropping out of school to go off to South America without her. After awhile, he stops writing to her and she falls into a suicidal depression. Years later, she's in love with her professor Lorenz. She has an intense relationship with him and then Sullivan returns into her life.

This is a lot of young love without limits. This is a very french movie. The young leads play their part like any random young lovers. This is semi-realism. I don't particularly like the guy. The fact is that he leaves her behind which puts into question how much he truly loves her. He's callous to her feelings and she's an overwrought young girl. Their original romance is not that dramatic since the movie is just waiting for them to break up. I'm just not particularly in love with their love and it's a passable romance.

(57%) If you close your eyes and imagine a modestly budgeted French film centred around the love and loss of Parisian girl, then this is almost certainly what you'd have in mind. In a very similar form to that of 2013's Blue is the warmest colour, this takes the more realistic route to express itself. So expect lots of scenes in which hardly anything happens, a purposefully plodding pace, and characters that live and breathe more in reality of everyday life rather than the pages of a piece of fiction. The performances are subdued, and the script is penned back keeping everything in the realms of normality which does have its engrossing elements, but it also could make this an unbearable watch for some. After Boyhood went above and beyond to have its lead actor at the same age as the character, while this on the other hand has the issue of Lola Creton looking a bit too old to be 15 at the start of the film, and a bit too young looking to be high-rising architect by the second half. Boyhood really has spoilt us. The relationship at the heart of the film is undoubtedly idyllic, sometimes a little too idyllic, but unlike the better Blue is the warmest colour this isn't as painful to watch when things start to go rough. Fans of realistic romantic drama should give this a look, but those who like explosions and fistfights need not apply.