Boy Meets Girl (1984) (1984)
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Critic Reviews for Boy Meets Girl (1984)
The director's slight uncertainty creates a fascinating tension that works in Boy Meets Girl's favor. You empathize with the characters' struggles even as they are both kept at a critical distance.
Ecstatic cinema and ecstatic living join together in a pressurized promise of glory and misery, a flameout waiting to happen-and to be filmed.
Carax excels at creating a space that's a luxury for viewers to occupy.
Leo Carax's first film seizes on a particular element of intellectualized youthful ennui with uncommon clarity and ferocity.
[VIDEO ESSAY] "Boy Meets Girl" is a passionate cinematic work that echoes the brilliant dramatic effects Leos Carax has achieved with his other films ("The Night is Young," "The Lovers on the Bridge," "Pola X," and "Holy Motors").
Audience Reviews for Boy Meets Girl (1984)
For an avant-garde film, "Boy Meets Girl," Leos Carax' debut release, is surprisingly tender. This is my first viewing of any Carax film, and I was surprised and delighted by the emotional quality of "Boy Meets Girl." Avant-garde artists typically are all about ideas. But Carax, at least in his early days, was all about feelings. "Boy Meets Girl" introduces us to an array of characters, all feeling wounded in some way. Mostly it is due to the loss of love. The two lead characters, young intelligent misfits played by Denis Lavant and Mireille Perrier, have just been dumped by their significant others. They walk around Paris shell-shocked until they meet each other at a party. The scene where they start getting to know each other is so loving and compassionate. Carax has a deep heart. It seems he spent his college years not so much studying philosophy as studying people. He's got a PhD in the human yearning for love. But it's not a great film. It's charming but rather light. It reminded me most of the films of Jim Jarmusch. By a very nice coincidence, Jarmusch and Carax both released their debut films in 1984. (JJ's was "Stranger Than Paradise.") They both embody the downbeat, laconic chic of the New Wave era. But whereas Jarmusch's characters almost never emote, Carax' characters frequently gush. It's hard to believe that I've never heard of Carax until this year. I don't know how his work slipped by me all these years. Surprisingly, he never developed much of a reputation in the US. I discovered him by way of the trailer for his brand-new film, "Holy Motors," which showed at Cannes this year but has not been released in the US yet. (Thank you, Vite, for sending me the trailer.) While I wouldn't say I was mesmerized by "Boy Meets Girl," I was impressed -- pleased enough to want to see all his films. There haven't been too many. He basically retired in 1999 after "Pola X." So "Holy Motors" represents his big return to filmmaking. I'm eager to see his entire body of work.
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