Philippe Garrel’s film ‘The Salt of Tears’

At age 72, the French producer Philippe Garrel is as yet making motion pictures about youthful darlings. Early adulthood is a fertile field for Garrel on the grounds that, it very well may be suspected, he feels a solid partiality for its boisterous feelings. His characters have an anger to live, and to cherish, that is often countered by a romanticization of death. 

His new element, "The Salt of Tears," is from the start not all that very different from the vast majority of his other 21st-century pictures, for example, "La Jalousie," nor from films returning to the start of the once cutting edge chief's account work, similar to "L'Enfant Secret" (1979). It's clearly, for a certain something. In any case, its widescreen outline isn't standard in Garrel's work — however demonstrates adept for this story. Renato Berta's cinematography loans an extensiveness to its standard settings, both metropolitan and semirural. 

Luc, played by the newbie Logann Antuofermo, is visiting Paris to apply to a carpentry school; somewhat of a nation mouse, he tests a young lady, Djemila (Oulaya Amamra), at a bus station for headings and locks on to her, requesting a date. A conditional sentiment starts, alongside sexual arrangements. 

When Luc gets back to his common town, a spat with a previous adolescent love, Geneviève (Louise Chevillotte), warms up immediately. Luc, ardent in pursuit, demonstrates timid in responsibility. He keeps on charming Djemila from far off. He is by all accounts accomplishing a really basic male "adulthood": that is, one of trickery and self-serving, hindered by twinges of soul that never really compliment actually himself for him. 

At the point when Geneviève reveals to Luc she's pregnant, his response is peevish: "You can't do this to me." Once he's back in Paris, it's delightful to see a young lady he follows into a bistro say, "Ease off or I'll call the police." 

Garrel's motion pictures often feel unstuck as expected. In this image, at a party club, the characters delightedly revolve in an entertaining, adapted route to a tune by the 1970s French band Téléphone. However, sharp contacts here, similar to the young lady reprimanding Luc and the interruption of a multiracial twofold date by biased people, show the movie producer's grip of the contemporary world. 

"The Salt of Tears" is a considerable amount in excess of a miscreant's advancement. There are passing shadows of Flaubert in this story, which Garrel made in a joint effort with two revered screenwriters, Jean-Claude Carrière and Arlette Langmann. "He inquired as to whether he had known love," the film's impartial storyteller notes at a certain point; Luc infers that he has not, on the grounds that he still can't seem to be annihilated by the feeling. 

A sentiment with a third lady, the free-energetic Betsy (Souheila Yacoub), grinds Luc down a piece, especially after she welcomes a former beau of hers to live with them in Luc's shoe-box loft. In any case, Luc's actual proper recompense comes from an entirely extraordinary relationship, and Garrel's development to it is especially sly. The chief's extra style permits him to get most extreme enthusiastic effect utilizing generally traditional impacts; when he presents an uncommon close-up, it makes itself felt at the time, yet in addition sets up the film's overwhelming finale.

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