VividSimon Simply Perfect

SanEat A film with more than the usual spoiler issues. Talking about it in any detail feels akin to handing you a gift-wrapped present and saying, "I hope you like it -- It's a thriller about a diabolical secret experiment."

Aneesa Wardle The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

Derrick Gibbons An old-fashioned movie made with new-fashioned finesse.

lasttimeisaw WILD REEDS is my introductory piece to André Téchiné's cinematic dominion, its title refers to famous fable THE OAK AND THE REED, and it is an adolescent quartet in 1962 France, against the backdrop of the twilight of Algerian War and the demise of French colonization.Everyone thinks 18-year-old high-schoolers Françoise (Morel) and Maïté (Bouchez) are an item, even Maïté, who is deeply influenced by her mother Madame Alvarez's (Moretti) communist slant, thinks so, they are so compatible and intimate together, although so far the relationship has been purely platonic, it is only a matter of time before it turns physical. Françoise is a lean and feeble boy, from a petit bourgeois family, he cannot do sports (swimming is an exception) by virtue of his heart condition, he knows Maïté is his soul mate, but they can never be lovers, after he is sexually aroused by his rural classmate Serge (Rideau), son of a farmer with Italian lineage and whose elder brother would later fall in battle at the front line (after being unwillingly transported back to Algeria since Madame Alvarez refuses to offer a helping hand). A boarding school bromance is burgeoning, they become close friends and Françoise comes out to Maïté, she calmly accepts it with sincere encouragement, meanwhile for Serge, his tryout with Françoise is more or less out of a young boy's curiosity, in fact, he is more interested in Maïté, who abstains form his courtship in light of Françoise. Thankfully, it is not a clichéd love triangle, instead it is a more dynamic quartet, the fourth force comes from Henri (Gorny), an Algerian-born French exile who is newly transferred to the class, he has lost his father in the war and becomes extremely cynical to the mainland bourgeois class (who is apathetic to the end of Algeria's colonization) and hostile to the radical leftists and communists (who are in favor of Algeria's independence). He is the alien, brings a radio in the class, picks on Serge and provokes Françoise for his sexuality, openly defies his teacher Madama Alvarez and reluctantly to accept the help from Monsieur Morelli (Nolot), until finally decides to drop out before the exam and by coincidence, meets Maïté in the communist headquarter in the still of the night, where her kindness thaws his malicious intention.Eventually all four gather together for an excursion near the riverside with wild reeds waving around, as they let off their most honest and profound feelings, it is also a siren call to culminate the rite-of-passage of their blazing youth. The ultimate take of a 360 degree shot sterlingly singles out the lush atmosphere with a meaningful punchline, a lyrical rendition of the precious moments in one's adolescence, feeling love, experiencing heartbreak, accepting disappointment and facing an unknown future. Téchiné magnificently teases out impressive and heartfelt performances from these four young actors, Morel, Bouchez and Gorny all rush into the top 10 tier of my yearly rank. Morel is unpolished but a pitch perfect choice for Françoise's sensitivity and integrity; Bouchez is a legitimate sensation, her Maïté, undergoes the choppiest emotional journey in the film, is utterly compelling in every frame; Gorny is detestable at first, then segues into a more sympathetic character thanks to his unfettering ire and the flitting touchiness for a wounded soul. Rideau's Serge, is offered less material to chew on apart from his jock virility, but his unaffected detachment denotes an alternative psyche in the society which hardly changes. WILD REEDS is an intimately potent prose on how a controversial political situation can erode and alter the mindset of a young generation. Remarkably, it never begin to pall from its poetic aesthetics and robust narrative. It is deservingly a capstone in Téchiné's staunch career orbit.

limau Well, actually, I exaggerate, it isn't really too bad, but I just feel obliged to balance off the hyperventilating praises that this film got from so many reviewers.This is a just so-so film that tells the lives and sexual awakenings of four teenagers in a school. The story itself is good, plainly told, and parts of it are well-done, and evocative of the feel at a particular time in history as well as of the confusion that teenagers can feel grappling with their sexuality and love lives.However, there are a number of problems. The acting of the main characters is really rather wooden (although the girl who played Maïté is an exception) - whether they are telling going through a personal crisis or telling an affecting story, there is little change in their expressions. The dialogue is sometimes verging on the silly - do young French people really constantly go round declaiming their thoughts and views in the way they do in this film? If you put some of the dialogue in the mouths of American teenagers and you will see how stupid and pretentious they are, but many reviewers seem to think that since it is French, it must be deep and profound rather than ridiculous.It is a shame that so many lose they critical faculty when judging non-American films. One reviewer claimed that it put 99% of American films to shame, when really, if truth must be told, the vast majority of foreign films are really quite poor, and this one is not an exceptional one. Some, perhaps the great majority, of the astonishing good and imaginative films in recent times comes out of America, while those from elsewhere often get stuck in retreading old stuff and mire in mediocrity. The awarding of the Palme D'Or this year to Ken Loach's utterly second-rate The Wind That Shakes the Barley is perhaps the ultimate example of this kind of blindness.

vandrade It is absolutely impossible to make a film like this one without carrying out the personal memories of an our own teenage time. That's why this so called 'teenage movie' is so far away from all other experiences within this field. Téchiné had written and directed a part of his own life. Villeneuve-sur-Lot, Paris, Lisbon, who cares? This is the movie of my life. And if it is so, it's not only because of the unexpected beauty of all frames on the movie, but, essentially because that I felt every inch of the road walked by the characters of this film, as if their experiences, a long time ago, in a galaxy far, far away, were my own teenage experiences and hopes. I saw this film ten years ago, and still I can remember every image, every phrase... And I kept these memories as a guideline for a future life, when I was 23 years old. I know what I have lived, I still don't know what the future reserves to me. But, on those days, ten years ago, I have increased my hope. I found that there was people like me, and like the others around me... The time and the place doesn't matter. No film will never make me feel so strongly about my youth, and, simultaneously, about my future as a man. This is not a 'teenage movie', it's a collection of memories about the construction of our personality. And, we all, with that age, were a little bit of François, Serge, Henri and Maite. And we still are. (...I'm sorry about my English...)

viverito This film is truly amazing. I saw it and was so moved by it that I couldn't stop thinking about it for a very long time. It is heavily based on the director's (Andre Techine) real life experiences. In this film Techine manages to create a realistic and palpable universe which seems which if you know anything about film is a very hard thing for directors to accomplish. I asked a French DP and a friend of Andre Techine about Les Roseaux Sauvages and he told me that it was originally made for television and that it was such an enormous sensation in France that it later was released in the theaters and won many awards at the Cesars in Paris - France's equivalent of the Oscars. I will admit that some American friends of mine went to see this film and didn't get it. What a pity for them.