Marie pour mémoire

Garrel, a much-admitted disciple of Godard and the most radical of the French New Wave directors directed a film on the edge of mysticism, several times inverted Christian dogma permeated with social radicalism at the end of the 1960s, in which ideology critique and the Lacanian psychoanalysis blend. The theme of a love relationship from the beginning of the film gradually relates to the obstacles that love faces, unsubdued thinking, and rebellious youth facing reality, which can eventually take the form of a normalizing institution - an institution for the mentally ill. The film as a whole is consequential - it is equally "crazy": the possibility of metaphorically connecting various constructed parallel thoughts is seemingly unlimited. Blasphemy is combined with nonsense, "revealed" hope with socially critical hopelessness. (2016.01.08)