Claysaba Excellent, Without a doubt!!

MoPoshy Absolutely brilliant

CrawlerChunky In truth, there is barely enough story here to make a film.

KnotStronger This is a must-see and one of the best documentaries - and films - of this year.

robin_go Rohmer likes his morals and the moral for me here is how moving from one stage in life to another can't be forced. We can't decide to be in a different 'place' in life on a whim, without doing the maturing first. There's no short-cut. The cringeworthy party scene is perhaps the telling scene. Not just because of Sabine's inability to crawl out from childish ways, but equally Edmond's inability to cast his mind back to a time when he was giddy and foolish and work didn't matter. The supporting cast - friend Claude, Mother and the antiques dealer all have wisdom that comes through experience, but they know better than to waste too much breath with logic that headstrong Sabine is not ready for. A rites of passage, "find-out-the-hard-way" movie that's not as slight as first glances might suggest.

cronostitan A young ambitious student wishes to succeed and to make a beautiful marriage... The protagonist knows well that it will be hard but has the reasons for: on the other hand she is smart enough to know that the social background matters a lot - as she said to her friend Clarisse, we cannot have a free mind and a free body everywhere, it is especially the money who allows us to sugar the pill! And there is that she suddenly chooses a poor guy who is a lawyer in real life, somebody who's not a "pitiful" according to herself.The number one's principle of the movie being to demonstrate it then regrettably, its opposite. Because Sabine also makes a mistake, but I would not tell you why or what in order to not spoil nothing of this work, which's absolutely one of more successful of Rohmer, this cult director being capable of the worst like the very best as for some of his movies. On the other hand know firstly that rohmerians often denigrates " the beautiful marriage " and it's natural because this full-length film scratches in the place where you must not. Anti- bourgeois, anti-hipster, this movie is to be seen and mainly for its brunette bold heroine not so pointless who also proves to ourselves that being a provincial or living in a big town; it's anyway the same thing for many of us.The B.O. says moreover dice the beginning by this fast and wriggling electronic track, been born before this illusion of marketing what we name today "french-touch". And if it begins with a light comedy it is to press better on the ridiculous, disgusted of these predicted preset things that we would prefer all to avoid before any of this... especially glaucous physical appearance which seems to be obliged in the love scenes and that this young father with theses swines kids (who phones every time at every hour of day. And every hour of the night too) personalizes it par excellence (as we say in french).So, the whole is almost a masterpiece, in spite of its so long typical conversations of the author. And I know well what I'm talking about - comme on dit en France.

adrean-819-339098 I'm a fan of the hushed qualities which are Rohmer's style. I admire the seamless flow between scenes in this film, between Paris, Le mans, the atelier, the train and her mothers house. Noteworthy is the almost complete lack of music as with many of his films, however there is a poignant somewhat outdated 80's electronic tune that runs in the beginning, the credits and at the party.I found myself a little less hooked emotionally with this film then with 'Le Rayon Vert', 'Pauline a la Plage, and 'L'ami de Mon Amie'. When I watched those films I was really pulled at the heart strings by the plight of some of the characters.What was different with this film? Well on the contrary to what others have wrote here I didn't find the leading actress Beatrice Romand to be nearly as compelling as Rohmer's other leads. I think she took the idea of a head strong young woman a little too far, ie; marching around like a bulldog for half the film, seemingly bursting in and out where ever she went. I think she could have played the head-strong role with a bit more subtlety. However at the scene of her party and in one of the final scenes in an office she played the role divinely. Particularly at the party there is a sense of tension which is unexplainable which she radiates.As a big fan of Rohmer and comparing with his other works I give this film a 7. This film for someone who has not experienced a Rohmer film will be like an almigthy gob smack. You will see with the simplest elements and without manipulation he is able to create a sense of compassion for the characters and tension with a slight pacing that resembles real life.

exfraulein Beatrice Romand is a perfect cast for the hot-headed, impetuous, self-confident and immature young girl in the leading role, while Andre Dussollier plays the role of a quintessential bourgeois Frenchman, charming, courteous, discreet, and tactful. His tact has reached the point of being hypocritical which makes the audience exasperate for the young girl, who has been kept on tenterhooks for too long and would not take no for an answer. Her insistent and blind chase of a man who is obviously not interested in her is only made worse by the reticence of the object of her pursuit. Rohmer's films are usually wordy sometimes tedious, they suit only certain type of audience. This one is definitely not tedious. An interesting and comical study of manners and mentalities in different classes of French society of the late 20th century.