Synopsis
The turbulent relationship between a filmmaker and a volatile actor.
Lou Didn't Say No
Cast
Marie Bunel Manuel Blanc Geneviève Pasquier Métilde Weyergans Caroline Micla Harry Cleven Wilfred Benaïche Delphine Rich Jean-Michel Cannone Christian Labrousse Jérôme Hardelay René Bouloc Serge Renko Valériane de Villeneuve Daniel Villenfin Jean-François Balmer Daniel Emilfork Hélène Roussel Bruno Devoldère Catherine Bidaut Philippe Khorsand
Director
Writer
Editor
Cinematography
Additional Photography
Set Decoration
Sound
Genre
Releases by Date
Premiere
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Canada
Montréal Festival of New Cinema
13 Aug 1994
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Switzerland
Locarno Film Festival
01 Nov 1994
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France
Entrevues Film Festival
29 Jan 2001
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Netherlands
Rotterdam International Film Festival
Theatrical limited
21 Dec 1994
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France
Theatrical
12 Jan 1995
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Canada
17 Mar 1995
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Switzerland
TV
15 Jan 1995
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France
Releases by Country
Canada
09 Jun 1994
- Premiere Montréal Festival of New Cinema
12 Jan 1995
- Theatrical
France
01 Nov 1994
- Premiere Entrevues Film Festival
21 Dec 1994
- Theatrical limited
15 Jan 1995
- TV
Netherlands
29 Jan 2001
- Premiere Rotterdam International Film Festival
Switzerland
13 Aug 1994
- Premiere Locarno Film Festival
17 Mar 1995
- Theatrical
Popular reviews
More-
“You’re terrible at loving, and not much better at being loved.” A prismatic, hypnotic portrait of a tortured kind of amour fou that’s also a generous act of literary excavation; orbiting around the famous love letters of Rilke and Lou-Andreas Salomé (letters Rilke himself repurposed in The Notebooks of Malte Laurids Brigge, for my money, one of the most beautiful works in all of literary history), Miéville doesn’t so much reimagine their extraordinary kind of love as pay homage to it. Memories of happier times haunting her own Parisian on-again-off-again pair like painful shards (“Rilke may have died from a thorn on a rose”), balancing their present desires against a past that seems ever more irretrievable. “The only good left…
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Me reservo las 5 estrellas para cuando la vea con buena calidad y con subtítulos en español. Pero, en cualquier caso, ya puedo dar por bueno 2022.
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Quatrième film de Miéville regardé dimanche. Je voulais élaborer davantage là dessus et sur l'expérience du cinéma de Miévile en général, mais je manque de temps. Un peu comme dans le précédent, y'a beaucoup de choses à digérer là dedans. Plusieurs scènes brillantes et de très beaux moments, mais j'ai trouvé que l'ensemble manquait un peu trop de cohérence.
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""A ideia para o filme e para o título nasceu de um momento da correspondência entre Lou-Andreas Salomé e Rainer Maria Rilke. No entanto, o filme descreve instantes e aspectos da vida de um casal contemporâneo, em metamorfose. O quotidiano partilhado entre homem e mulher é, aqui, confessadamente difícil" - são estas as palavras com que Anne-Marie Miéville nos "explica" a génese de Lou N'a Pas Dit Non. E palavras onde, adivinhamos e o filme confirma-o, se inscrevem dois dos temas fundamentais do cinema de Anne-Marie Miéville, como quem teve ocasião de ver Nous Sommes Tous Encore Ici pôde perceber: a vida a dois, consubstanciada na figura do casal, e a comunicação, como meio essencial de construção dessa figura. De…
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Another low view count from Miéville for a film that isn't quite my thing, but is pretty great. The tragedy of everyday life on screen, some moments are overpowering in their hopeless reality. Others should watch, because Miéville is an underappreciated master.
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Durante las primeras escenas de este film pensaba que iba encontrarme con una obra inaccesible para mí, pero esa sensación desapareció rápidamente y conseguí introducirme totalmente en ella.
A partir de escenas sueltas y aparentemente inconexas vamos descubriendo un estudio sobre el amor en diferentes vertientes. Pudiera parecer que estamos siguiendo la historia de Lou y Pierre, sin embargo es mucho más que eso y esas escenas, o más bien sketchs (no cómicos, por supuesto, si nos atenemos a la definición de la RAE de esta palabra), van tratando muchos otros aspectos de las relaciones amorosas: relaciones tóxicas, relaciones sanas, soledad, deseo o no de tener pareja, miedos, celos, traumas personales...
Uno de los aspectos más significativos es que todo… -
A movie that’s full of ideas but it ends up abandoning all of them, but the first 30 minutes were quite brilliant.