An intellectual couple
documents the gradual disintegration of their relationship as a woman’s
feminist awakening unsettles established emotional and domestic roles. What
begins as shared reflection turns into friction, irony, and quiet hostility.
The film unfolds as a personal chronicle rather than a dramatic arc, observing
intimacy as it is tested and redefined.
Shot in stark black and white, the film adopts a diary-like form that blurs fiction, autobiography, and essay. Moullet places himself in front of the camera while Pizzorno films, creating a constant tension between observation and participation. The mise en scène is deliberately bare, privileging spoken reflection, repetition, and duration over narrative momentum.
At a deeper level, the film examines power, authorship, and gender within both love and cinema itself. Emotional negotiation becomes inseparable from political consciousness, as private life is exposed as a site of ideological struggle. The relationship is dissected with clinical honesty, refusing comfort, resolution, or moral reassurance.
Often discussed as one
of Moullet’s most radical works, the film occupies a singular position within
his filmography, anticipating later autofictional practices and standing as a
rigorous document of second-wave feminist tensions in 1970s France.
Sem comentários:
Enviar um comentário