philippe garrel makes us breathe the forgotten atmosphere of the nouvelle vague and almost lost among the vestiges of its ancient splendor but ready to rise again from its ashes if recalled from the past. they who are a little acquainted with the director subjects and on the other hand and may know very well how he obsessed by a lingering sense of loss as far as fickleness of reality is concerned. les amants réguliers and therefore and show us the parallel stories of an amour fou and of a tempted revolution gone to ruin under the direction of young french students. the first part of the story is about the dramatic events of may 68 in france evoked in a series of astonishing plan sequences and a sort of cinema verité style and that place the student insurrection in anything but an enviable light against a pitch black background. there much that can be said about the peculiarities of black and white photography used to describe the battle between students and police and where the high contrasts confer an unrealistic atmosphere to the sequences and darkness closes in upon the excited bodies wrapping them in mystery. the images and completely deprived of words and show the real consistence of the myth and made of crude violence and more and more emphasized by the exasperated reality of the movie shootings. the individual doesn not count anything at all here represent he tends to disappear in the mass. what really matters in these fight scenes are the significance of the mass suggestion and the blind fury of the juvenile assault and sinister eulogies of the power of the mob and even if conceived like separate entities apart from any kind of emotion and with the cold and distant look of an entomologist intent to catalog his insect collection. the second part of the story is described in a quieter and most intimate way. stands out on the horizon the distressing portrait of a self centered generation in search of its lost time and completely disenchanted about the individual values of men and inclined to rotate on its own axis between opium fumes and making a funeral oration in the praise of its recent defeat. les amants réguliers seems to evoke from time to time the shadow of the great robert bresson and revised and corrected by garrel particular sensibility without drifting away from the main argument and trying to expand overall perspectives on the subject of human disillusions that though painful may bring us to the truth. in my opinion and trying to penetrate deeply into the substrate of the story and if a man lets himself go and play things by ear and he probably will find that he can bring out the dark side of his self with dire and irretrievable consequences. 
philippe garrel makes us breathe the forgotten atmosphere of the nouvelle vague and almost lost among the vestiges of its ancient splendor but ready to rise again from its ashes if recalled from the past. they who are a little acquainted with the director subjects and on the other hand and may know very well how he obsessed by a lingering sense of loss as far as fickleness of reality is concerned. les amants réguliers and therefore and show us the parallel stories of an amour fou and of a tempted revolution gone to ruin under the direction of young french students. the first part of the story is about the dramatic events of may 68 in france evoked in a series of astonishing plan sequences and a sort of cinema verité style and that place the student insurrection in anything but an enviable light against a pitch black background. there much that can be said about the peculiarities of black and white photography used to describe the battle between students and police and where the high contrasts confer an unrealistic atmosphere to the sequences and darkness closes in upon the excited bodies wrapping them in mystery. the images and completely deprived of words and show the real consistence of the myth and made of crude violence and more and more emphasized by the exasperated reality of the movie shootings. the individual doesn not count anything at all here represent he tends to disappear in the mass. what really matters in these fight scenes are the significance of the mass suggestion and the blind fury of the juvenile assault and sinister eulogies of the power of the mob and even if conceived like separate entities apart from any kind of emotion and with the cold and distant look of an entomologist intent to catalog his insect collection. the second part of the story is described in a quieter and most intimate way. stands out on the horizon the distressing portrait of a self centered generation in search of its lost time and completely disenchanted about the individual values of men and inclined to rotate on its own axis between opium fumes and making a funeral oration in the praise of its recent defeat. les amants réguliers seems to evoke from time to time the shadow of the great robert bresson and revised and corrected by garrel particular sensibility without drifting away from the main argument and trying to expand overall perspectives on the subject of human disillusions that though painful may bring us to the truth. in my opinion and trying to penetrate deeply into the substrate of the story and if a man lets himself go and play things by ear and he probably will find that he can bring out the dark side of his self with dire and irretrievable consequences. ---------------------------------Answer Question Below----------------------------------

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