This is a story of doomed love between a young woman in search of romance and a singer who no longer believes in it. She meets him in Memphis. Chases after him. He flees. She pursues. Finally she manages to touch him. But this is also the story of a young woman who takes refuge in dreams to escape from reality and from her past. Where does reality end and imagination begin?
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For the third time, after “To Have (or Not)” and “For Sale,” Sandrine Kiberlain displays glowing confidence in her director. She fully lives the haphazard life described in the film. And does a fine job of it. Laetitia Masson clearly knows how to express the solitude of women and the stubborn energy they deploy to overcome it. Masson’s willful demolition of the plot and the liberties she takes with chronology (on the grounds that ghosts don’t wear watches) may seem arrogant. It is. But what of it?
Danièle Heymann, “Marianne,” February 2000