Grimossfer Clever and entertaining enough to recommend even to members of the 1%

Senteur As somebody who had not heard any of this before, it became a curious phenomenon to sit and watch a film and slowly have the realities begin to click into place.

Payno I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Guillelmina The film's masterful storytelling did its job. The message was clear. No need to overdo.

akoaytao1234 Techine's Rendez-vous (1985) tells the story of Nina (Binoche), a young struggling actress trying to better her life in the busy streets of Paris. When a turbulent lover dies unexpectedly, she is left to fend the guilt of the failed relationship while juggling another lover who seeks a more mature relationship off her. Rendez-vous(1985) is an interesting study on sex and its role in relationships. Nina is a sees herself as a woman confident of her sexuality and is ready to use it for her own comfort. But as the film progresses, It seems to be that she is just too eaten up by her own uncertainties and insecurities that her sexuality acts as a defense mechanism for her to be accepted. But as the film shows, it affects her relationship the other way. The man she put out with ends up seeing through her. More often leaving her disillusioned by her actions. [4/5]

robert-temple-1 Juliette Binoche was only 21 when she made this film, but it was her eighth film. This is really a pointless, offensive, and ridiculous film for which the director was of course awarded Best Director at Cannes, and Binoche was awarded a Best Actress Cesar (which proves how crazy judges can be, and how perverted they are as well). I imagine Juliette Binoche must be hideously embarrassed to think this terrible film of her cavorting around naked in compromising situations is still available on DVD. It is harder than soft porn, and purely gratuitous in its graphic displays. Binoche was not at all interesting at the age of 21, and all of her fascinating qualities developed later when she began to look like a woman: as a girl, she was seriously dull. I do not mean to say that Binoche did a bad job of acting; on the contrary, she did very well, but why bother? This film is a wet dream fantasy of a sick director of the 'let's get the lead actress's kit off quick' school of thought. Everybody in the film is obsessed with sex, death, and all those really new things none of us has ever thought about, so we need the wacko director to remind us. Why didn't he just make a sexy vampire film and be less affected and pompous? If you want horror, death, and sex, there are always vampires to turn to. Instead, we have here a lot of twaddle about Shakespeare and other mock-profundities. How absurd this all is. Binoche ought to get her kit back on. Really, there was no point in taking it off. On the other hand, there is a Cesar for the mantlepiece, I suppose. But was it worth it? This is a film only for psychotics.

gradyharp André Téchiné made this 1985 film RENDEZ-VOUS before his promising career was established, giving us such fine films as My Favorite Season, The Innocents, The Wild Reeds, Beach Café, Alice and Martin, etc. The sensitivity to character development is tightly wound in this work but some of the finesse that followed his later works is missing. In the end we are left wondering a bit about what happened to almost everyone.Nina (Juliette Binoche in her first film role) has traveled to Paris from her small home in Toulouse to try her hand at acting and to live the wild life that has been unavailable to her in Toulouse. She beds nearly every man she encounters and acts bit parts in small theaters, barely eking out an existence. Tired of one night stands and sharing quarters with others, she sets out to find her own apartment, stopping in to a realtors office where she encounters Paulot (Wadeck Stanczak) who is immediately smitten with her sensual good looks and manner. Having no place to stay Nina agrees to spend a few days with Paulot in a flat shared with the hauntingly strange Quentin (Lambert Wilson). Nina is oddly attracted to Quentin and is somewhat put off by the fact that Quentin is an actor in a sex theater. We discover Quentin narrowly escaped death some time back when the actress playing Juliet to his Romeo was killed. Nina has an approach/avoidance conflict with Quentin, all the while fending off offers by the pathetic Paulot to care for her. Quentin is killed in a car accident, Nina meets the elderly director Scrutzler (Jean-Louis Trintignant in a splendid cameo role) who promises her the role of Juliet in his casting of the Shakespeare drama, and her career as an actress seems to be launched. Full of self doubt and fear stimulated by the ghost-like appearances of the dead Quentin, Nina prepares for the role, copes with Paulot's advances, shares a flat with him, and is finally left in the stage wings with her focus on becoming an actress challenged with her needs for physical and stable love. And we are left there.Juliette Binoche is very fine in this her 'maiden voyage' and it is a happy finding that she is far more beautiful (as well as a far better actress) in her current more mature state. Lambert Wilson gives a fine performance, finding the line between lurid sexuality and lonely afterlife ghost a position he easily treads. The film definitely has moments but it is only a hint (and a strong one) of just what to expect form the gifted André Téchiné. Not bad for a twenty year old film! Grady Harp

shatguintruo The opening scene of this picture, lead us to two experiences, which we already went through, all of we who travel by train: 1)Looking through the window, one glimpses a station coming near and with it the unknown; 2)or: we hope to retie that we left hanging, be it a friendship relation, business, etc... In this opening scene, the director André Téchiné prepares us to the sparkling show up of a young actress who arrives in Paris searching immediate success. However, her personality must be mold (shape) , like one casts a sword in a forge. The first to take the hammer in front of the anvil, is the manager of a stage play in an obscure theater of Paris, who to take advantage of the situation, try to persuade that Nina (juliette Binoche, here in one of her first roles) is an actress with capital "A". The second, Quentin (Lambert Wilson) a tormented boy, who had caused the death of his beloved, assumes the role of "modeler" and keeps "molding" the character of the also newly arrived to the adult age. More another, Paulot (Wadeck Stanczak) at first courteous and later (understanding that Nina only uses people to arrive where she wants) selfish and cruel in his behavior - in view of the real situation - and finally Scrutzler (Jean Louis Trintignant) delineate the frame all the artists must have: the capacity of understand the essence of what the author wrote (do you remember the listless way Nina reads Romeo and Juliet from Shakespeare, without understanding the pain/love of the chief characters?) At the end, sorrowful and not counting with those who "support" her, she starts to upgrade to the human improvement, which is only available by pain. One movie that I classify - in a scale from 1 to 10 - as grade 9 (excellent).