Mado

Obvious, the presence of Romy Schneider, as a drop of essence , too short, more than symbolic , remains, for me, the basic virtue of film.

Near it, the nice work of Ottavia Piccolo, reminding one of feminine characters of Piero della Francesca.

The must bizarre symbol - the bogged down cars ( the hope to be a piece of revenge of maleficent Lepidon ).

No doubts, nice intentions but too large circles.

But, a Claude Sautet film remains, always, a Sautet.