Martin killed his father. His family has hidden the disgrace under a shroud of silence. The murder is smoothed over, passed off as an accident. Martin goes away to live in Paris. There, he meets Alice. Thanks to her, he manages to forget his deed. Alice and Martin are happily in love. Then one day, Martin finds out that Alice is pregnant. From that moment on, his past, his crime, come back to haunt him day and night. What can Alice do to help him hold onto his sanity?
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Téchiné and screenwriter Gilles Taurand sharply etch a thrilling portrait of a murderer. Can someone as gentle, indecisive and harmless as Martin really have killed somebody? The entire film, in its vagabond, physical and deliberately casual way—just like Martin himself—tries to answer this wonderfully incorrect question. The answer comes when Alice gets pregnant, as though a future life might appease the dead. Along the way, the film says some magnificent things about women’s stubborn determination to be happy, about women’s ability to force the hand of fate, and about men’s tendency to bend to it. (Danièle Heymann in “Marianne,” November 2nd 1998)