Marketic It's no definitive masterpiece but it's damn close.

Sexyloutak Absolutely the worst movie.

Dirtylogy It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

Allison Davies The film never slows down or bores, plunging from one harrowing sequence to the next.

HallmarkMovieBuff La Pointe Courte is a small jut of land on the east side of Le Canal de Sète, which connects L'Étang de Thau to the Mediterranean Sea. In the mid-1950s, it harbored a small fishing village (perhaps it still does, for all I know) which provides the setting for this film. Written and directed by 26-year old Agnès (née Arlette) Varda, this, her first and perhaps her best film, is credited by some film critics and historians as the first in the French New Wave. A young (24) Philippe Noiret plays a native of the village who returns from Paris after many years for a short vacation. Heretofore, I was familiar with Noiret only with some of his much later films. Silvia Monfort, with whom I was previously unfamiliar, and who had one of the most unusual faces I've seen on film, plays the disillusioned Parisian wife who joins him five days later to discuss their marriage. What's interesting about this film are its two intertwining parts. One part, shot in a familiar narrative style, concerns the everyday life and concerns of the villagers. The other part depicts the conversations of the couple in an artistic style full of fascinating images and interesting camera angles, a style which takes full advantage of Varda's photographer's eye. (Varda used three different cinematographers on this shoot, but I don't know which of them photographed which scenes.) Varda chose the location for the film after a visit there for an assignment as a still photographer. What I liked best about the part involving just the couple were the slow pans of the environments, almost as if Varda were trying to capture the characters' surroundings in a series of stills. On the other hand, I found somewhat disturbing the obtrusive soundtrack of a clarinet, which went counter to the notion that a soundtrack is supposed to enhance the mood of the scene, not play against it as I found this to do. Perhaps that is part of what accounts for this being credited as a New Wave film.

MartinHafer I noticed that all the reviews currently on IMDb for "La Pointe-Courte" are very positive--and some are simply glowing. Well, let me be a voice of dissent, as I disliked the film intensely. While I could see their point that some of the camera-work was nice, I found the film to be pretentious and boring.The film looks much like a French version of an Italian Neo-Realist film. The actors appear to be non-actors--local people from some French fishing community and the story, like a Neo-Realist film, is about ordinary people and ordinary things. Because of that, I found the first 33 minutes rather dull. Seeing folks in this fishing village only seemed interesting for a short time--then I failed to see any sort of point to the film. And, just when I thought it couldn't get much worse, it did! A newly wed couple you saw early in the film is now arguing--but arguing with absolutely no energy or intensity at all. And, oddly, apparently four years has passed since their last scene--though there is no sense of time passing at all in the film. And, instead of showing any emotion during this strange sequence, they TALK, TALK, TALK--while the camera plays annoying games with their profiles. Then, you see a closeup of a dead cat (who the @^## wants to see that?!) and then some eels. It's incredibly artsy-fartsy--that's for sure.This simply is a film that normal folks would hate intensely. While I have a high tolerance for art films and have probably reviewed more than anyone on IMDb, this film was just too intensely boring and pretentious and made me wonder WHO the audience was for it. If you think I am wrong, try showing the film to a few friends and family members--I would venture that most would feel pretty much like me about the film.

film_ophile I am not a film historian or a fan of Nouvelle Vague. I wanted to see this film because it gave me the opportunity to see my hero, Philippe Noiret, when he was just 26. Thankfully we began by watching the interview w/ Varda, which really gives you a solid understanding of why this film was/is so important, mostly having to do with it being so innovative for its time, and its place as an influence on filmmakers that followed. The 2 story lines did not engage or interest me really.But the visuals were often terrific. And oddly enough, we had just the night before, watched Clash by Night, an American film of the same time which was shot on location in the fishing community of Monterey CA. While visuals were often excellent there as well,in Clash by Night the film really was the STORY, and a very passionate one at that.La Pointe-Courte was also really important as an example of one of the few important "First Films' of a director,especially a woman director in 1955 , and really especially, one who had no previous experience in film making and no knowledge of film history.

valadas Agnès Varda began her career in 1954 as a feature film director with this movie that tells two separate stories in reciprocal counterpoint: daily life at a fishing village near Sète in France with its joys and dramatic moments and the relationship between husband and wife when she who is a Parisian returns to him after he had chosen to return to his birthplace where he feels now very happy but that doesn't seem to please her very much at first and puts their marriage in danger. This situation is given in a series of soft dialogues between them which don't reveal themselves deep and meaningful enough to make us feel the sentiments behind them. Varda has done much better later with such very good movies like "Le Bonheur" or "Cléo de 5 à 7". However this movie is also classified as a landmark in the New Wave of French cinema that began about that time with names like Truffaut, Godard and Chabrol. It's this historical value that mainly makes this movie worth to be seen.