L'été takes place mostly at a large country house in Normandy, called Le Broy. A young activist has left Paris following the riots of 1968 and is spending some time on her own at the house. The house is owned by friends of her parents, who are not using it that season, but it's due to be refurbished at some point, which stops the stay feeling open-ended.
She spends time corresponding with a friend, listening to classical music and thinking about her partner who she has left behind. She also spends quite a lot of time frolicking in the gardens and the surrounding countryside. The movie anthologises a lot of the slogans from the 1968 rioters, maybe the touchstone here is "Vivez sans temps morts - jouissez sans entraves" or "Live without dead time - play without hindrance".
Reading about 1968 would be a pre-requisite for watching this movie. It is still an inspiring time for me. A group of very beautiful French students decided it was time to overthrow the government and free people from the oppression of parliaments, laws, consumerism and wage slavery. They weren't even close to a victory, but their lessons for personal fulfillment live on. The world wasn't ready for these actions, but the Time of Cherries will come again.
The young lady is often shown naked, which is in line with the theme of sexual revolution for 1968.
Although the movie is playful, there is also a sense of grief, those that make revolution only halfway, dig their own graves, is a very poignant slogan. The lady is shown with her face being reflected in some old dark glass, as if she has a foot in the next world.
It is ironic, probably intentional, that a privileged upper middle class woman holidays in her wealthy parents friends' home, and also that she comes across quite a lot of people working, and all she does is essentially take leisure. Not inconsistent with '68 principles, but a fairly essential comment. I know that if any of my reactionary friends watched the movie they would hit the roof seeing this contrast.
The music is perhaps represented as being in touch with the revolutionary instincts, no brash Russians, but mellifluous Monteverdi, Couperin, Handel, Bach etc. One interesting tune was Fantasy for guitar imitating the harp in the style of Ludovico, by Alonso Mudarra. The major expression of grief and betrayal is expressed by a relating of the plot of Kleist's novella Michael Kohlhaas, which ends in a baroque act of defiance.
My heart goes out to the filmmakers. This film sits apart from the other three seasons in the Tetralogy of Marcel Hanoun. The others are much more connected in a group.
She spends time corresponding with a friend, listening to classical music and thinking about her partner who she has left behind. She also spends quite a lot of time frolicking in the gardens and the surrounding countryside. The movie anthologises a lot of the slogans from the 1968 rioters, maybe the touchstone here is "Vivez sans temps morts - jouissez sans entraves" or "Live without dead time - play without hindrance".
Reading about 1968 would be a pre-requisite for watching this movie. It is still an inspiring time for me. A group of very beautiful French students decided it was time to overthrow the government and free people from the oppression of parliaments, laws, consumerism and wage slavery. They weren't even close to a victory, but their lessons for personal fulfillment live on. The world wasn't ready for these actions, but the Time of Cherries will come again.
The young lady is often shown naked, which is in line with the theme of sexual revolution for 1968.
Although the movie is playful, there is also a sense of grief, those that make revolution only halfway, dig their own graves, is a very poignant slogan. The lady is shown with her face being reflected in some old dark glass, as if she has a foot in the next world.
It is ironic, probably intentional, that a privileged upper middle class woman holidays in her wealthy parents friends' home, and also that she comes across quite a lot of people working, and all she does is essentially take leisure. Not inconsistent with '68 principles, but a fairly essential comment. I know that if any of my reactionary friends watched the movie they would hit the roof seeing this contrast.
The music is perhaps represented as being in touch with the revolutionary instincts, no brash Russians, but mellifluous Monteverdi, Couperin, Handel, Bach etc. One interesting tune was Fantasy for guitar imitating the harp in the style of Ludovico, by Alonso Mudarra. The major expression of grief and betrayal is expressed by a relating of the plot of Kleist's novella Michael Kohlhaas, which ends in a baroque act of defiance.
My heart goes out to the filmmakers. This film sits apart from the other three seasons in the Tetralogy of Marcel Hanoun. The others are much more connected in a group.
