A Nos Amours (1983)
A French coming-of-age drama that makes me want to dress like a lustful Parisian teenager.
A Nos Amours, or ‘To Our Loves’ directed by Maurice Pialat in 1983, delves into adolescent turmoil and familial dysfunction. Sandrine Bonnaire, in her debut role at 16, artfully portrays Suzanne, a Parisian teen navigating her chaotic family life through a series of lovers—a performance that earned her the César Award for Most Promising Actress. Pialat himself plays Suzanne's father—simultaneously domineering and absent.
I find most French films from the '60s through to the '80s sensorially appealing, but this one struck an earnest, tactile chord. The film's wardrobe, curated by Martha De Villalonga and Valérie Schlumberger (Léa Seydoux's mom!), harbors an intrinsic understanding of the era—and the female experience within it. This creative vision is particularly significant given that the film is directed by a man—as noted in the below New York Times Review from Oct. 12, 1984:
While the director might show restraint in connecting intimately with his protagonist, the wardrobe does not. Through a journey starting with soft, impressionistic pastels, evolving into bold, commanding reds, and culminating in dramatic, infantilizing silhouettes—these clothes bring her internal struggles and the era's essence to life with striking realism.
Note: The following collection of outfits is non-exhaustive—just those that had the most visceral effect on me and my understanding of the story. There may be some light plot spoilers.
I. Summer Camp
The film opens with Suzanne away at theater camp, on the cusp of entering her vita sexualis. She flits between rehearsing a play, sneaking off for a field-side romp—and break up—with her boyfriend, and later losing her virginity to a crass American. The wardrobe feels poignantly sun-dappled, like an impressionist painting—light fabrics in soft, muted colors capture the liminality of summer and Suzanne’s youth.
II. Domestic Rage
Suzanne returns to Paris, we get acquainted with her #complex family, and the oppressive atmosphere is palpable. For those familair with Jean-Luc Godard's Contempt you know how red signifies rebellion and transgression. Here, it’s used just as powerfully, highlighting moments of emotional intensity and Suzanne's inner struggles. The interiors are sublime, yet these scenes are truly abrasive.
When Gimaguas dropped their Pre-Fall Collection a few weeks ago, I was extra gleeful because the grey jersey pieces are ‘so Suzanne.’
III. La Femme Libérée
Suzanne has finished school, is nonchalantly engaged, and is eventually set to leave for San Diego. I can’t help but feel her impending move to California was subtly foreshadowed by her carefree summer camp outfits.
Thank you so much for reading. Let me know in the comments what look you loved most and what film I should feature next.
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