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Meanwhile, Matthias’ teacher is frustrated with his lack of focus, despite showing ability in creative writing. Elisabeth sees her on a bench outside after the program, and when she learns that the young woman is living between cheap hotels and squats, she invites her home to stay for a few days in a separate upstairs studio that her husband kept as a storage space. But when she’s invited in to the studio as a guest, she clams up on air. Like Elisabeth, 18-year-old Talulah writes in to the show, hinting at her dropout life and the unhappy family situation she fled. Even an inadvertent screw-up that draws a flash of Vanda’s anger and the minor mistake of a messy one-time sexual encounter with a co-worker (Laurent Poitrenaux) don’t set her back for long, despite her lingering insecurities and sadness. #The passengers full movie free trialGainsbourg is at her most enchanting conveying the unaccustomed satisfaction Elisabeth gets from being part of a working unit, seemingly still pinching herself about her luck weeks later to the point where she hasn’t even realized her trial period is over. In an amusingly movie-ish moment, the job starts “right now.” But she believes in giving people a chance, and she agrees to try out Elisabeth, working the phones to screen callers. ![]() #The passengers full movie free professionalWith her blond hair pulled back in a tight bun and her wardrobe consisting solely of masculine suits, Vanda is a no-bullshit professional with a slightly brittle veneer. #The passengers full movie free archive(Grainy video inserts of archive material from the era also include shots from the Claire Denis TV documentary, Jacques Rivette, le veilleur.)Īlthough she has few qualifications for work beyond her psychology degree, Elisabeth scores an interview with “Passengers of the Night” host Vanda Dorval (an almost unrecognizable Emmanuelle Béart), thanks to a letter she wrote as a longtime listener. Rohmer’s Full Moon in Paris, in which Ogier starred to great acclaim, is cited here, and a brief clip is seen from Rivette’s Le Pont du Nord, which she co-wrote and starred in with her mother, Bulle Ogier. But the character, and Abita’s tough-but-fragile performance, are actually a direct homage to Pascale Ogier, who earned fame in films by Éric Rohmer and Jacques Rivette and died tragically in 1984, the night before her 26th birthday. A mild insomniac, she often listens to the late-night Radio France talkback show that gives Hers’ fourth feature its title.Īlso a fan of that show is Talulah, whose hard, punky look and industrial strength makeup initially make her appear to have wandered in from Betty Blue. She desperately needs work and was fired on her first day in an office job. In one of the high-rise apartments of Paris’ quinzième, where she has spent her married life, Elisabeth finds it hard to share the optimism of her student activist daughter Judith (Megan Northam). ![]() The story opens on election night in May 1981, when socialist François Mitterrand became president, stoking widespread hope of liberal reforms. But even if the balance feels imperfect, the overall effect, and the enormous fondness the director shows for all his characters, makes for satisfying drama. The pleasing delicacy of the principal thread, about newly single, careworn fortysomething Elisabeth (Gainsbourg), is so captivating that the more ensemble-driven elements concerning her high school-age son Matthias (Quito Rayon-Richter) and a troubled teenage drug addict from the streets who goes by Talulah (Noée Abita) often appear to be fighting for attention. Screenwriters: Mikhaël Hers, Maud Ameline, Mariette Désert Venue: Berlin International Film Festival (Competition)Ĭast: Charlotte Gainsbourg, Quito Rayon-Richter, Noée Abita, Megan Northam, Thibault Vinçon, Emmanuelle Béart, Laurent Poitrenaux, Didier Sandre, Lilith Grasmug, Calixte Broisin-Doutaz ![]()
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