Seize printemps

This is such a beautiful movie. I loved everything about it. The ending was just right. The acting, the cinematography, the writing, all very inspirational and so pleasing to take in. There is something to be said for thoughtful conversation and genuine feeling, and I can see the correlation to the movies of Eric Rohmer and "Paris, Texas" as Suzanne said in an interview. Incredible work from such a young and talented source. Please give us more. My favorite scene is probably the short one in the cafe involving a kiss on the neck and the holding of hands. No dialogue. None was needed. Thank you.

Not only is this film another problematic romantisation of a "lolita story" (adult man falling in love with teenage girl), but it is also painfully boring. The film is relatively short but it drags on nevertheless. There is barely any dialogue, a lot of shots repeat over and over and any action is missing completely. There is weird dance sequence at one point that is neither explained, nor does it further the plot. Just a few minutes later there is another dance scene, this time a slow dance and the camera stays on this moment for several minutes while nothing else happens. Seriously, don't watch this film and save yourself the time.

A young girl (Suzanne Lindon) from Paris is bored with her peers and daydreams into a soul mate with an actor (Arnaud Valois, known from "120 BPM") who is almost twenty years her senior. What could seem raunchy or overly trite is staged as light as a feather, poetic and, in some places, surprisingly funny.

Suzanne Lindon, born in 2000, daughter of the French acting stars Sandrine Kiberlain and Vincent Lindon, proves to be a true multi-talent: script, direction, leading role and then she also sings the title song "Seize Printemps". Navel gazing? Protection from famous parents? Absolutely not! One must honestly admit that an artistic voice can be heard here, from which a lot can be expected in the future. Suzanne Lindon approaches her topic in a self-deprecating and serious manner at the same time and finds beautiful images for emotions that can hardly be put into words. At the same time, she has created a beautiful Paris film that shows the megacity as a cocoon that is sometimes turned away from the world

The Theater de l'Atelier, which plays a major role in the film, is located in Montmartre. By the way, it is very comforting that young Parisians can still listen to the EuroDance sounds of Dr. Alban is the best way to celebrate!

Worth seeing!

Films that deal with the subject of a young girl's romance with an older man can often descend into issues of sexual exploitation, or see it as a result of a troubled family background. It is a relief, therefore, that Suzanne Lindon's seemingly autobiographical take on her own teenage years portrays a happy family, and a gentle, innocent romance. It has the lightness of touch reminiscent of some of Eric Rohmer's coming of age dramas, the only disappointment being that very little is resolved, or even discussed. It's a short, charming film, but one that leaves the viewer feeling vaguely unsatisfied at its conclusion.

Suzanne (Suzanne Lindon) is a 16-year-old girl, withdrawn and calm, who lives harmoniously with her sister and her parents in a Parisian apartment. In her comings and goings to school she begins to observe Raphaël (Arnaud Valois), a handsome theater actor twenty years May that she frequents a bar and rehearses and performs in a theater in the area. Finally there will be a meeting that will lead to a romance between the two.

The protagonist, daughter of the renowned actors Vincente Lindon and Sandrine Kiberlain (she notably played Simone de Beauvoir in the film Violette) is also the director and screenwriter (she directed this film at age 20 and wrote the script at age 15) of this delicate story of initiation and love between two sentient beings, lonely and bored with their environments and activities.

Despite being a problematic subject, Lindon clearly proposes from her point of view a development where spontaneity and sweetness prevail and surprises with the use of some original scenes that could well be taken as sublimations or metaphors.

16 printemps is a film that looks to poetry but is never naive (and neither is its protagonist) and that is committed to running away from the vision very in vogue in current fiction of adolescence as a territory of conflict, suffering, excess and abuses.

Here she left a report to the director (better to see it after the film, perhaps), which reveals a great cinephile culture and very clear ideas.

Special Mention SIGNIS 35 Award of the Mar del Plata Festival