Goodbye First Love (2011)
Un amour de jeunesse (original title)
Director:Mia Hansen-Løve
Goodbye First Love is a delicate love story, tender and erotic,
and drenched in the idealism and seriousness of its central
character, Camille (Lola Créton).
As a 15-year-old high-school pupil, Camille is having regular sex
with a conceited and tousle-haired college student called Sullivan
(Sebastian Urzendowsky). She is infatuated with him, and he to some
degree with her, but does not quite share the intensity of her
commitment, having already explained his settled plans to drop out of
university and go on a 10-month backpacking tour of South America
with a couple of buddies. Sullivan clearly envisages this trip
involving many new kinds of experience, but chastity isn't one of
them.
He and Camille have a final idyllic summer together at her
family's lakeside house in Ardèche, swimming, lazing around and
having sex complicated by the melancholy of imminent parting.
Inevitably, calamity ensues: Camille grows up, becomes a brilliant
architecture student, and a new relationship with a charismatic
professor begins to heal her heartbreak. But then, almost a decade
later, Camille runs into Sullivan. Things have changed. Or have they?
Hansen-Løve is telling us something quite different: of course it
matters. Heartbroken young love is the most intense kind, perhaps the
only authentic kind. And you will never forget it and never entirely
get over it.
There is something heartwrenching and abject in Camille's getting
a map of South America up on her bedroom wall and putting little pins
in it to chart Sullivan's course. He has promised to write to her,
but this arrangement gradually, predictably unravels. Hansen-Løve
shows the imprisonment and agony of Camille's situation and how her
architecture career enunciates her misery: designing student
accommodation blocks with impractical water features and misconceived
spaces for long, dreamy walks which are all too obviously governed by
yearning for that last doomed summer of love. Yet the designs are
spare, abstract, desiccated. She has designed herself out of them –
designed herself out of her own life.
Nothing is more unreliable, more coloured by how we view our
current romantic situation, than the memory of an earlier love. The
eight years that Camille and Sullivan were apart seems like a long
time to them; the drama shrinks it to a single, dramatic heartbeat,
and perhaps that is all that it was. The unromantic pain and euphoria
of love are instantly revived in this outstanding film.
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