Ciudad Autónoma de Buenos Aires
Ciudad Autónoma de Buenos Aires

Born of a time when its dual leads were on their way to becoming two major stars, and to a film industry on the verge of significant transition, Loulou in many ways defines French cinema of the period. There’s a reason Pialat was called the Cassavetes of France. Here, faded neons are partially replaced by garish fluorescents, turning every public space in to a sight akin to a poorly lit warehouse or supermarket. There’s a glow of glamour still somehow present, largely thanks to Depardieu and Huppert. The dramatic scale charted by the actress covers all corners, taking in everything between pure joy and fierce despair. What is perhaps most interesting about her character is that she could easily be an aged Suzanne from Pialat’s later A nos amours, while Depardieu’s eponymous Loulou could be the man that grew from L’Enfance nue. In contrast to the everyday realism of the slice-of-life tendencies of Pialat’s ouevre, there is a real sense of a dramatised, dreadful inevitability to their love (one almost feels it a necessity to place quotation marks around the word “love”) can’t last. AB

Year: 1980
Format: 35mm
Color: Color
Minutes: 110
Seconds: 0

D: Maurice Pialat  

G: Arlette Langmann, Maurice Pialat  

F: Pierre-William Glenn, Jacques Loiseleux  

E: Yann Dedet  

DA: Alain Alitbol, Max Berto, Jean-Pierre Sarrazin  

S: Dominique Hennequin  

M: Philippe Sarde  

P: Yves Gasser, Klaus Hellwig  

PE: Yves Peyrot  CP: Gaumont, Action Films  


Isabelle Huppert, Gérard Depardieu, Guy Marchand, Humbert Balsan, Bernard Tronczyk


E W TW @gaumontfilms

Wendsday 22 - 15:30 h
Teatro San Martín Room: L. Lugones
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