La bouche de Jean-Pierre (1996)
Country: FR
Technical: col/2.55:1 52m
Director: Lucile Hadžihalilović
Cast: Sandra Sammartino, Denise Aron-Schropfer, Michel Trillot
Synopsis:
When her deserted mother attempts suicide, twelve year-old Mimi is taken into her aunt's cramped apartment. There she chafes against her relative's set ways and falls prey to the advances of her live-in lover.
Review:
Presented in ultra-wide Cinemascope format, and suffused with her partner's stylistic mannerisms (block letters filling the screen, shock sound effects), Hadžihalilović's prize-winning short, like Noé's own Carne (1991), sketches the process by which a child becomes damaged goods. It's a hard watch, therefore, its portrayal of adult egotism echoing all the way back to Les quatre cents coups (1959), though without any of that film's indulgent view of humanity.
Country: FR
Technical: col/2.55:1 52m
Director: Lucile Hadžihalilović
Cast: Sandra Sammartino, Denise Aron-Schropfer, Michel Trillot
Synopsis:
When her deserted mother attempts suicide, twelve year-old Mimi is taken into her aunt's cramped apartment. There she chafes against her relative's set ways and falls prey to the advances of her live-in lover.
Review:
Presented in ultra-wide Cinemascope format, and suffused with her partner's stylistic mannerisms (block letters filling the screen, shock sound effects), Hadžihalilović's prize-winning short, like Noé's own Carne (1991), sketches the process by which a child becomes damaged goods. It's a hard watch, therefore, its portrayal of adult egotism echoing all the way back to Les quatre cents coups (1959), though without any of that film's indulgent view of humanity.
Country: FR
Technical: col/2.55:1 52m
Director: Lucile Hadžihalilović
Cast: Sandra Sammartino, Denise Aron-Schropfer, Michel Trillot
Synopsis:
When her deserted mother attempts suicide, twelve year-old Mimi is taken into her aunt's cramped apartment. There she chafes against her relative's set ways and falls prey to the advances of her live-in lover.
Review:
Presented in ultra-wide Cinemascope format, and suffused with her partner's stylistic mannerisms (block letters filling the screen, shock sound effects), Hadžihalilović's prize-winning short, like Noé's own Carne (1991), sketches the process by which a child becomes damaged goods. It's a hard watch, therefore, its portrayal of adult egotism echoing all the way back to Les quatre cents coups (1959), though without any of that film's indulgent view of humanity.