One of the most unbearable Duras movies. With photography by Sacha Vierny, Delphine Seyring more languid than ever, and beautiful images of the coast. So far the positive part.
As many times with Duras, the problem starts with the text: ridiculous, empty, contrived, and so underlined by the style of the film that it seems that we are being shouted that it is art with capital letters.
Again the usual zombies chatting slowly and staring into space for what seems like an eternity.
A tribute to that intellectual kitsch of the time, with all the clichés and fashionable stereotypes about immature and cowardly men, empathic, profound and understanding women. Affected playing, stupid dialogues (that telephone conversation! With poor Perier shouting Vera!... Vera!), a dash of classy French eroticism (Vera naked with a pearl necklace), and a desolate and luxurious background of an uninhabited mansion with impressive windows to provide easy beutiful images.
Duras continues to have followers, although her film work is largely forgotten. Compared to the highly esteemed Robbe-Grillet, Sarraute, Perec... the literary work of this author is too many times of a badly repressed sentimentality, only tolerated by a style reputed for its conciseness and supposed precision (favorite word among the french critics of that time).
I must say about the music, which is ironically referred to by the characters as "outer turbulence": it plays continuously from the second scene, for almost 90 minutes, in an unbearable uniform rhythm. It's pretty at first, over the lonely beaches, the mansions, and the desolate mansion rooms. In the end it is already torture.
Her cinema is different, assumed to be targeted for a minority, with artistic flair, but that doesn't make it good.
Anyway this is far better than Le camion. For an increasingly select minority.
