The Salt of Tears: a young Frenchman juggles three women

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

His new component, "The Salt of Tears," is from the outset not all that entirely different from the 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. Nonetheless, its widescreen outline isn't standard in Garrel's work — however demonstrates well-suited for this story. Renato Berta's cinematography loans a breadth to its conventional settings, both metropolitan and semirural. 

Luc, played by the newcomer 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 speculative sentiment starts, alongside sexual exchanges. 

When Luc gets back to his common town, an altercation with a previous teenager love, Geneviève (Louise Chevillotte), warms up immediately. Luc, eager in pursuit, demonstrates timid in responsibility. He keeps on charming Djemila from a remote place. He is by all accounts accomplishing an all around very regular male "adulthood": that is, one of trickery and self-serving, hindered by twinges of heart that never really compliment actually himself for him. 

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

Garrel's films often feel unstuck as expected. In this image, at a party club, the characters euphorically rotate in an interesting, adapted path to a melody by the 1970s French band Téléphone. Yet, 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 lot in excess of a creep's advancement. There are brief shadows of Flaubert in this story, which Garrel made as a team with two admired 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 presently 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 sweetheart of hers to live with them in Luc's shoe-box loft. However, Luc's actual just reward comes from a completely extraordinary relationship, and Garrel's development to it is especially crafty. 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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