Monthly Film – July

All is forgiven (Tout est pardonné) 2007
by Mia Hansen-Løve

JULY POSTER FOR MAILWednesday 22nd July 2015 – 6.00pm
National Film Corporation Theater
303, Bauddhaloka Mawatha,
Colombo 7.




All is forgiven (Tout est pardonné)
All Is Forgiven (French: Tout est pardonné) is a 2007 French drama film written and directed by Mia Hansen-Løve. It was screened in the Directors’ Fortnight section of the 2007 Cannes Film Festival. It won the Louis Delluc Prize for Best First Film and was also nominated for Best First Film at the 2008 César Awards.


Victor and Annette are a married couple with a little girl named Pamela. Due to Victor’s continuous bad habits they have a monumental blowout in the relationship. In the aftermath, Victor moves in with a junkie he has fallen in love with and Annette disappears into the city with Pamela. Flash-forward 11 years later, and 17-year-old Pamela is still living in Paris with her mother. When an inquiry into father’s whereabouts reveals that Victor is living nearby, curious Pamela decides to check in on her long-lost dad.

Victor habite Vienne avec Annette et leur petite fille Pamela. C’est le printemps, Victor qui fuit le travail passe ses journées et parfois ses nuits dehors. Très éprise, Annette lui fait confiance pour se ressaisir dès qu’ils seront rentrés à Paris. Mais en France, Victor reprend ses mauvaises habitudes. Après une violente dispute, il s’installe chez une junkie dont il est tombé amoureux. Annette quitte Victor et disparaît avec Pamela. Onze ans plus tard, Pamela a dix-sept ans, elle vit à Paris, chez sa mère. Un jour, elle apprend que son père est dans la même ville qu’elle. Elle décide de le revoir.

Reviews of the film
Originally produced by Humbert Balsan before his death in 2005, Mia Hansen-Løve’s All Is Forgiven (Tout est pardonné) recalls the muted, slow brewing, slice of life implosions of Stefan Krohmer’s Summer 04 and Valeska Grisebach’s Longing, as well as the naturalistic, organic narrative and chance intersections of Barbara Albert’s cinema to create a raw and distilled, yet intimate and insightfully rendered rumination on the nature of connection, longing, regret, and forgiveness. Composed of a series of elliptical, self-contained episodes of the quotidian that collectively reveal the fragments of a disintegrating relationship, the film is also a reflection of human memory in its lucid, essential reconstitution – and awareness – of (life)time passed: Annette’s (Marie-Christine Friedrich) frequent castigation of Victor’s (Paul Blain) excessive drinking, his frequent absences from family outings with their daughter Pamela (Victoire Rousseau) to meet a drug dealer, his increasing disenchantment with his life as an underemployed translator and frustrated poet in Vienna that would lead to their decision to uproot the family move back to Paris, a conversation between Victor and his sister, Martine (Carole Franck) that exposes the fissures in his passionate, but volatile relationship with his devoted and long-suffering partner, a chance encounter with a drug dealer’s friend, Gisèle (Olivia Ross) during a party that would lead him to the abyss of heroin addiction, and ultimately, his separation from his family.

Shot using hand-held DV cameras, Hansen-Løve’s aesthetic juxtaposition of saturated light against vérité-styled images that convey a sense of raw immediacy creates an unexpected coherence between disparate images that evokes the spirit of German Romanticism in its expositions on the duality of nature. It is this poetic transfiguration of the banal that is implicitly revealed in Victor’s letter to his absent daughter, now an adolescent (Constance Rousseau), a passage adapted from Romantic poet Joseph Freiherr von Eichendorff that articulates both the reassurance of eternal devotion and regret of missed opportunity.


Musique secrète.
Le premier film de Mia Hansen-Løve raconte très simplement une histoire très compliquée. Non pas compliquée au sens où elle serait difficile à comprendre, mais au sens où elle mobilise des relations complexes, entre des moments différents de la vie, des époques, des générations, entre personnes qui n’ont pas le même âge, pas le même pays ni la même langue maternelle, pas le même sexe, pas la même idée de l’existence. lire en plus

~ Jean-Michel Frodon, Cahiers du Cinema