What a weird film. The director seems like he's off his meds, mixing together genres and throwing undeserved curveballs at the viewer. Leaving aside the eccentricities, it begins like a typical French light drama, which then strays into Amelie-esque fantasy land, but goes too far, stumbling into surrealism with a sinister tone and jarring turns which clash with the initial proposition. The film was original but I can't say I liked it much; it was too destabilising to have any real heart.

Alain Resnais' love letter to the cinematic form switches between embracing and subverting its long-standing conventions, ending up as one of the most jarringly engrossing ventures of the year. His imaginative flights of fancy freakiness bring to mind the bodacious glories of the New Wave movement Resnais was himself a part of. In a cinematic landscape that often seems lacking in bright, inventive visions, this veteran filmmaker has stepped up to the plate to deliver something vital.

:o

Refreshing, I guess? After what set off to be (a great) thriller with some quite funny lines, the movie suddenly turned into a comedy for a while. But I can't say I didn't like it. The romantic relationship that comes out of it all, and the way it comes to it actually is both thrilling and funny. Some things should be developed more though - some of wife's actions seemed in no relation to plot whatsoever and left me totally baffled, for example. I should re-watch it. I recommend

A very non-classical movie that still has all the classical grips of a good movie-making. My problem with the film was that up until the middle of it, I was not sure whether I was watching an easy comedy or a drama about human life. The humour was quite disappointing and out of place, but the movie is saved by good acting and a story that's (although banal in itself) mastered quite well. It left me baffled on some parts to be honest, but it also has some shining moments. Definately refreshing.

Cinema de arestas abertas e ambiguidade de gêneros e emoções. Poderia ser receita de um fracasso, mas Resnais compra essas características e as usa magistralmente; refresco para o cinema atual. E mais uma vez repete os pontos fortes do seu filme anterior: diálogos pertinentes e rápidos e a preferência por planos próximos, dando ênfase nas cores azul, verde e roxo, como se os personagens caminhassem por Paris sob uma aura mágica. Só não me peçam pra explicar o final David Lynch.

Resnais faz uma comédia romântica que foge totalmente dos padrões, já que o que move os personagens não é o amor, mas uma intensa busca por novas experiências. Os toques de "nonsense" caem como uma luva.

I don't get it. Seems to be a work that simultaneously attempts multiple moods/genres, and only occasionally succeeds.

"Wild Grass is cute stuff...maybe too cute." - Andrew Schenker

It embarrasses just about every other piece of filmmaking around.