Pauline a la Plage (1983)

Original Title : Pauline √† la plage
Director : Eric Rohmer
Writer : Eric Rohmer
Genre : Comedy
Country : France
Language : French
Producer : Margaret M√©n√©goz
Music : Jean-Louis Val√©ro
Photography : N√©stor Almendros
Distributor : Acteurs Auteurs Associ√©s (AAA)
IMDB ID : 0086087
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poster for "Pauline a la Plage" by Eric Rohmer (1983)
Pauline a la Plage (1983) - Eric Rohmer


¬Amanda Langlet Pauline
¬Arielle Dombasle Marion
¬Pascal Greggory Pierre
¬F√©odor Atkine Henri
¬Simon de La Brosse Sylvain
¬Rosette Louisette
¬Marie Bouteloup Marie (uncredited
¬Michel Ferry Sylvain's Friend (uncredited


Fifteen year old Pauline and her older cousin, model-shaped Marion, go to the emtying Atlantic coast for an autumn holiday . Marion ignores the approaches of a surfer and falls for Henri, a hedonist who is only interested in a sexual adventure and drops her soon. Pauline's little romance with a young man (Sylvain) is also spoiled by Henri.


Love and other disappointments, 29 January 2006 Author: Fiona-39 from Belfast, N.I I'm going through a phase of catching up with Rohmer films I've missed, and this one was so good it's tempted me to post a comment again, something I haven't got round to for a while. It is perfect, typical Rohmer: location filming, very wordy script, indecisive characters...all in the service of Rohmer's film theory, that in cinema you use dialogue to tell (as in literature) and the camera to show. The interest and conflict come from the (inevitable?) mismatch between the two. Here, each of the characters needs desperately to believe that what they saw was the truth of the situation. At the end, Marion has learnt enough to know that her perception may be false. But she'll go on believing it anyway, because that is necessary to her sense of self. An excellent treatise on the way in which our perceptions are as important as the 'truth' of any situation. The colours in the film deliberately reference Matisse, and there is something of his style too: by showing the flat surface of the canvas, you both open up its beauty and reveal it to be a construction rather than a truth. The use of glimpses through windows adds a Hitchcockian dimension too. Another one to savour.