| Original Score: C
It is offbeat, with shafts of tender feeling and truth. But trying to touch on too many subjects makes the film uneven.
Legrand's score bubbles up under the most banal interactions.
| Original Score: 2/5
The film represents an idealized view of reality that will strike some viewers (including this one) as overly sentimental.
| Original Score: 2/4
| Original Score: 4/5
The Ophüls question ("Quelle heure est-il?") is always in the air, along with the tilting, craning and tracking that link and sever feelings
Intuited rather than explained & felt rather than understood.
| Original Score: 10/10
Jacques Demy's first and in some ways best feature, shot in exquisite black-and-white 'Scope by Raoul Coutard, is among the most neglected major works of the French New Wave.
Has a springy, musical quality to it.
| Original Score: 3.5/4
Very beautifully shot, in widescreen and luminous black-and-white, it is also formally astonishing, with all the minor characters serving as variations on the central couple.
Pleasantly conceived romantic roundelay.
| Original Score: A
Aimée is reason enough to catch this import.
| Original Score: 3/4
A delightfully melancholy romance of coincidence, starring European film's epitome of sophisticated sexuality.
| Original Score: B+
Before he gained renown with The Umbrellas of Cherbourg, Demy made his feature debut with a prequel of sorts, which was his elegant homage to the films of Max Ophuls.
Jacques Demy's 1961 classic Lola is a breathtaking reminder of what magic in the movies used to mean. It's pure enchantment.
| Original Score: 4.5/5
An early Demy prize, lighting the way to his masterpiece The Young Girls of Rochefort.
Demy is best known stateside for his wondrous musical The Umbrellas of Cherbourg, but some consider this, his debut feature, to be his best work.
There is something gentle and elusive going on here, and you should catch the movie at long last even if you've seen it before.