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    L'eau froide (1994)

    Posted By: Someonelse
    Date: 23 Jul 2011 12:39:55
    L'eau froide (1994)

    L'eau froide / Cold Water (1994)
    DVD9 (VIDEO_TS) Custom Subs | PAL 16:9 (720x576) | 01:30:35 | 7,79 Gb
    Audio: French AC3 2. @ 192 Kbps | Subs: English, Russian
    Genre: Drama | France

    Gilles and Christine a boy and a girl live in the outskirts of Paris, their families are ineffective and distant and they lead a purposeless life. They steal some records in a supermarket but she is caught and sent to a nursing home by force by her parents. She escapes and follows Gilles to a house where some other youths live. They then decide to go south: Christine has been told there is a commune there, where artists live. So they head south sleeping rough…

    IMDB

    I really hadn't expected much of this movie when I saw it in Brooklyn last summer. But, as a coming of age story, it's one of the few ones that really hits home for me. Cold Water is just such a frustrated, restless film, neither condemning nor forgiving its self-involved children and inadequate parents. It's fair in that way, which is refreshing. I'm tired of hearing rich kids get a lot of breaks and tired of hearing the Richard Fords explain away their parenting mistakes.

    L'eau froide (1994)

    Visually, it's not a terribly structured or naturalistic film, and maybe that's why it seems to be so right on. The frenetic energy and seeming meaninglessness of the individual shots really conveys the frustration that comes from having the faculties of an adult, but none of the powers. Those shots come together in these long, slow sequences . . . small town livin'. There's a seeming, but deceptive, plotlessness that drew a lot of recognition from me.

    You shouldn't miss the party scene. Man, that brings back memories. Pure recklessness, and listening to CCR over and over and over.
    IMDB Reviewer
    L'eau froide (1994)

    The heart of Cold Water is this gap between generations, as well as the gap of class. The film opens with Gilles' Hungarian grandmother telling stories, in Hungarian, about World War II, stories that can't possibly mean anything to the kids she's speaking to. They're barely listening, and when they finish their breakfasts they rush off; they've got their own problems, and the past of their parents and grandparents couldn't seem more remote. Later, Assayas inserts a shot of the grandmother silhouetted in the dark, quietly praying under her breath, ending with a hushed "amen" — it could be a prayer for her lost grandchildren, for the aimless younger generation she doesn't understand, for her own burdens that they could never understand. It's a sign that, though this is a film that is totally on the side of the kids, a film that intimately understands teenage suffering, Assayas is also sympathetic to older value systems, including a spirituality that's as foreign to Christine and Gilles' generation as World War II stories.

    L'eau froide (1994)

    The option of prayer isn't available to Christine and Gilles. With no parents, no stable value system, no idea what they want or what's expected of them, they're wandering aimlessly through the fog, sometimes literally as in a haunting sequence in which Gilles sneaks out of his house into a foggy evening, walking through a multicolored autumn forest and then riding his bike into a gray cloud that soon swallows him, erasing him in the dense smoke curling around him. This image of erasure and nothingness is echoed in the film's unforgettable final image, a blank piece of paper that reflects the inability of these teens to communicate, to make themselves heard.

    L'eau froide (1994)

    They're not even sure what they could say, what they could write, how they could capture what they're feeling and thinking in mere words. The film's title refers to that final scene, set by the side of a cold river in the middle of winter; the world is cold, and these teens huddle together to keep warm, but even with each other they can't quite communicate. They don't want to be alone, that's all they know — anything else is mysterious, inexpressible, and a blank page might be the only thing they leave behind in the world.
    Excerpt from Review on 'Only The Cinema'
    L'eau froide (1994)

    Gilles and his young schoolfriend Christine (Virginie Ledoyen) attempt to steal some records from a record shop. Christine is caught, and after an unproductive attempt by a put-upon police officer (Jean-Pierre Darrousin) to get her to see the dangers of the direction her life is going in, she is given over into the hands of her father. Unable to cope with the broken family life – her father is separated from her mother who lives with a new boyfriend - Christine is unable to bear living with her father and is send to an institution known as Beau Soleil, which is rumoured to use electroshock treatments on its internees. Gilles, also a child of divorced parents, meanwhile finds himself expelled from school. Running away from Beau Soleil, Christine and Gilles meet up again at a huge party being thrown at an abandoned château and decide to find a way to escape from their parents and the lives they are being forced to lead, but Christine is not convinced that Gilles is strong enough to give her the support and help she needs.

    L'eau froide (1994)

    After the lack of success of his previous films Paris S’Eveille (1991) and Une Nouvelle Vie (1993), which had seen the director fall into a schematic way of making films, the proposition to make a film about youth couldn’t have come at a better time for Olivier Assayas. Adopting the use of a Super-16mm camera allowed Assayas to shoot in a more natural, laid-back manner, the film simply flowing along through certain scenes in a way that hadn’t been seen since his debut film Désordre. L’Eau Froid consequently captures that same intensity of the spirit of youth, resembling the earlier film in a number of ways, not least in the key opening sequences where an attempted theft from a music shop sets the direction for the subsequent fracturing of the characters lives.

    L'eau froide (1994)

    Music then, just like Désordre becomes the key motivating force behind the characters in the film. L’Eau Froide (Cold Water) is set in 1972, the date set in an early scene by a radio broadcasting Roxy Music’s Virginia Plain. In one short glance between Gilles and his younger brother looking over the radio at each other, the spirit of complicity through a new music that reaches out and connects with the youth of a particular generation is already established. The early seventies were a key period for youth in France, following immediately after the student rebellion of May 1968, and leaving many youths feeling lost and directionless, particularly those, like Assayas and the characters in his film, who lived in less prosperous outlying areas of Paris (a legacy which has contributed to France’s longstanding problem that has exploded recently with trouble in the banlieues).

    L'eau froide (1994)

    Assayas captures this disaffection, again as in Désordre, with a perfect combination of music and image, particularly in one stunning wordless sequence at a party at the abandoned château, where the film shows the preparation and smoking of a cannabis pipe, the camera flowing languidly along with the passing of the pipe in an almost unbroken swirl, while the music (from the records Gilles stole from the record shop) plays out in the background - Janis Joplin’s Me & Bobby McGee (“Freedom’s just another word for nothing left to lose”), Creedence Clearwater Revival’s Up Around the Bend and Alice Cooper’s School’s Out - seemingly obvious selections, but songs whose lyrics have genuine meaning and speak to the young people of a particular generation. The scene then culminates in a huge bonfire, upon which furnishings from the house are thrown as the kids dance around the fire. This sequence captures everything about youth – not in any explosion of anger directed against authority, but in its desire to be free to be itself, to stretch out, find its own limitations and make its own mistakes – a note the film’s ending unmistakably proposes.
    Home Cinema @ The Digital Fix
    L'eau froide (1994)

    Extras (French only without subs):
    - Interview de Virginie Ledoyen (11:46)
    - nterview de Cyprien Fouquet (5:29)
    - The Essais de Comédiens includes the original screentests for Virginie Ledoyen (2:27), Cyprien Fouquet (1:50), Djamel Bensalah (2:22), Alexandra Yonnet (3:15), Jérôme Simonin (4:10) and Anne-Lise Calvez (2:12), all performing the same scene
    - Trailer
    L'eau froide (1994)

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