In the sixties, in a suburb near Paris, Martine wants to lose her virginity.
In the sixties, in a suburb near Paris, Martine wants to lose her virginity.
Tous les garçons et les filles de leur âge... US Go Home
All movies should be 68 minutes long
teen fever, the fever to be accepted, to be cool, to be included, to be loved, that feverish desire, the kind that makes your skin tingle with every interaction with the person you like, the kind that amplifies the emotions from inside your heart and vibrates through your bones til your hands are shaking. eyes wide with anticipation, that sick feeling in the stomach, that exhilaration from the music that finally speaks to you. teen fever, the magic of touch, the beauty of promise
get used to disappointment.
are you a girl?
i am a young woman
do you dance?
i want to touch someone else
is that your brother or your friend?
they are both intertwined: they have a maturity i crave
do you want a cigarette?
do not tell me i am too little for adult hedonism or i will scream
do you need a ride?
let me sit in the car in silence and pretend my heart has not been broken again and again
does the sun rise in the dawn?
should i ache like this, when i am not even old?
foreign, lonely and horny.
Not quite as richly shot as other Denis efforts (possibly because of its television-roots), US GO Home still has her trademark emotional resonance in its story and the manner in which it lingers of human forms. The blend of teenage desires and international relations is light and mostly humorously addressed, if a little darkly at times, and the largely American/British soundtrack is both a nice reminder of the English-language influences and, well, just a great soundtrack. It marks the era, the tensions, and the abandon of teenage years all at once.
The culmination of all this is a quiet car ride with a French teenager and an American sailor (I think) that, while still featuring a fair amount of dialogue,…
US pls go. In which Paris parallels America with all its acoustic freedom, endless sunshine, and sprouting out of pubescence like a naked man in a cake. Of course these things aren't exclusive to America and American influence but Californication is nevertheless still lapped up as the finest crash-course on learning how to be cool. Animation through music and movies and television is purportedly for the best because they teach us how to be hip, how to dress and smoke and fuck and live, they are the archetypes to "fitting in", since to not fit in is to be generally lonesome and miserable and blue. And here they are all called Alain. Maybe it's the fault of the US…
I'm so happy to have watched this in close proximity to WHISPER OF THE HEART, because I've by accident stumbled upon a shockingly honest coming-of-age double-bill. The latter concerns a girl's first creative expression, the former a girl's first physical one. Denis, not yet grown into the full impressionism of her Beau Travail-and-beyond period, nevertheless silently attunes herself to the rich empathy of youth, which in many cases outpaces their ability to process that shared awareness or even, sometimes, to recognize it. Denis, as ever, has a magical way with moments, be it Colin dancing unself-consciously (until he finishes and the camera cuts to reveal his sister watching him without his knowledge) or the late ride with Vincent Gallo's stationed…
why tf did it take me so long to watch a movie so extremely my shit
"I'm a communist. I don't drink Coca-Cola."
"What do you know about hookers? I respect them. It's a job."
The alternately ecstatic and repulsive last gasp of youth before entrance into a lifetime of subjugating oneself to power. Like many of Denis' films, often little more (and nothing less) than a catalogue of ways of being touched.
an intense longing ache that’s lonely and tender; something that denis shows so well. still makes me laugh a bit, especially after watching this, at the comment where someone said “claire denis is going to end up pushing US propaganda”
possibly my favorite from denis so far.
U.S. DEEZ NUTS
a cultural cross-section of Parisian suburbs — close enough to see the City of Light, too far to participate — occupied by American excess as soft export. A U.S. army soldier, stationed outside of France, offers Coca-Cola from the trunk of his car to the protagonist and her brother as they pass in the night. Late-adolescents live out a youth soaked in western music as the jangling guitars of Otis Redding and The Animals invade the majority of the scenes: lyrics traded between friends as they prep for an evening of exploratory debauchery, and an unbroken, multi-minute shot of erratic bedroom dancing, cigarette dangling from lips, exorcising the teenage ennui.
full set of thoughts this Saturday at flickpicking.org
🎶 Teenage wasteland, it's only teenage wasteland 🎶
I still find Denis' aesthetic rather distant and cool, but at just over an hour I can really dig it. The very meandering nature of the film's structure adds a considerable amount of depth on its own. Sex and identity and burgeoning adulthood are all weird. Nice soundtrack, too.
So desolate until the final act
the older brother is just like me fr also THAT FUCKING SOUNDTRACK AND IT ENDS WITH ONE OF MY FAVOURITE SONGS OF ALL TIME
The second best dance scene I know.
- a busca por uma identidade tanto interna quanto externa, impressionante a sutileza da Claire Denis na forma como ela consegue passar isso pra tela.
- trilha sonora (ironicamente toda em língua inglesa, justamente o "inimigo" aqui), outro ponto super alto.
- com certeza é dos melhores filmes sobre a adolescência que já vi, queria escrever mais sobre...
Oh THIS is the film where Vincent Gallo’s kinda creepy
Faz muito sentido que este filme tenha sido feito para o mesmo projeto do canal Arte que lançou o embrião de “Água Fria”, de Olivier Assayas. Os dois longas conversam muito em seu retrato de uma juventude que busca sua identidade, seja ela uma identidade geracional, seja uma identidade nacional. O título que Claire Denis dá ao filme já mostra o conflito: “U.S. Go Home”, assim, em inglês, uma mensagem nacionalista... na língua do “inimigo”. E são músicas deste inimigo que costuram todo o filme. A trilha sonora é toda em língua inglesa, como se esta confusão de objetivos refletisse a própria busca da protagonista, que quer perder sua virgindade, e da França, que já se rendeu há muito tempo…
Much louder than the average Denis movie (there's old american pop music where there would normally be silence) but even though that kinda startled me at first I adapted pretty quickly and it's a masterpiece and just as beautifully minimalistic, human and poetic as any other Claire Denis movie and just further evidence as to why she's one of the greatest.
The memory of this had faded quite a bit since I first saw it a good four years ago. I remembered the general outline but much of the specifics were gone. But, oh boy, was this as painful and true as the first time. For a film that leans so strongly on dialogue, silence, a killer soundtrack, and with the visuals being rather subpar compared to most of Denis' work, this still works so, so well. To make a film about teens and their first steps into an adult world of intimacy is one thing, to make it as an experience that's as true to life as the greatest slice-of-life films, within a mere 70 minutes, on a meager tv-budget... now that's just damn brilliant.
Movie Maestro 3,654 films
[after his parents have left, thinking he is ill] "They bought it. Incredible! One of the worst performances of my…
Vanessa 6,876 films
FAQ (please read before commenting)
Sarah 188 films
if a movie isn't here I either haven't seen it (I'm only human), or it sucks this also is not…