As in Peppermint Soda and Cocktail Molotov, Diane Kurys takes her subject from her own life, in this case the friendship between her mother and another woman, a friendship that surpasses and survives each of their marriages. The apparent benefit of her faithfulness to reality is the freedom from feminist dogma, despite a certain hauteur on the parts of both Isabelle Huppert and Miou-Miou. The non-benefit of this approach is the diffuseness. There are plenty of evocative tableaux of domestic life, of a rather static, snapshotty type; and plenty of evocative details of the 1950s time-setting as well, of, again, a type that could be culled from snapshots. With Guy Marchand. (1983) — Duncan Shepherd
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