didiermustntdie the film isn't anything special, except a subplot, which I think is the best plot, contains the best scene and best quote ever in a film.IMDb didn't let me update the quotes for the politic motive.one of the subplots is : an old french retard played by Jean-Pierre Marielle adopts(kidnaps? buys?) several dozens of sub-sahara African boys , teaches them nothing but to try their best to screw as many white french girls as possible when they grow up....he forces them to promise him. and he says, they are(the black boys) the hope of France....because he worships African culture, an afrocentrist? he is annoyed and offended by french politics and corruption? he is just a misogynist??who knows..the dialogue is very graphic, very un-PC..I don't know mr blier 's political orientation but that moment is probably the most satirical or realistic moment in history of cinema..blier was a master of sex satire.. now he tried race related ones, he won again!from other aspects, this film is so-so.. but those a few minutes lift it from 5 to 7 viewed along long time ago, until today I decided to write something about it..

heliotropetwo Memory and longing can make of our lives a continuous present tense in which those we've lost have dinner with us, in which we can call them from the grave whenever we wish, in which we can kill them as often as we like. And if we are the pretty, hyperactive daughter of demented (Italian? Spanish?) mother and pastis-drowned father, living in a nightmare suburban project in Marseilles among the walking driftwood and the detritus of loving humanity, in which crime is a career and rape a rite of passage, we are seven, seventeen, twenty-seven in the same moment while the hybrid sounds of Euro/Algerian/Camerounian music, chewing, cursing, laughing, fighting, sexing, loving, accompany us perpetually as in the old melodrama, except that it is so alive, funny, moving, devastating and rescuing all at once that we are enthralled and left with the happy/sad feeling of a life lived. A movie to be lived in and remembered with fondness.

arthurpewty I have only seen 3 Bertrand Blier movies, but this one is easily my favorite of the 3. BUFFET FROID, starring Gerard Depardieu, was the first I saw -- and the fact that it was basically plot less and full of absurdist humor made it instantly a favored flick. I more recently saw Blier's Oscar-winning GET OUT YOUR HANDKERCHIEFS but thought it was a little too conventional and strained next to the more flat-out freewheeling BUFFET. About 15 years after that pair of movies comes this one, which marries the sensibilities of the other two perfectly. Like HANDKERCHIEFS, it actually has a story, but like BUFFET, it doesn't bother with real-world logic, good taste, or linear chronology in telling that story. SOLEIL is sort of a movie about coming-of-age in the projects, sort of a movie about sexual psychology, and sort of a cut-and-pasted collage of unusual moments. The magical thing is that the damn thing winds up more moving than it probably would have if it was a straightforward tearjerker about hard living. Of course, Blier can't be credited completely for this, as his actors are wonderful, especially Anouk Grinberg as Victorine, our perpetually childish heroine, and Marcello Mastroianni as her charming perpetually drunk papa. An under-seen gem.

lionel.willoquet In a warm town of Marseille, a teenager, clamped among a crazy mother and an alcoholic father, looks desperately for tenderness. On bottom of gloomy suburb, Bertrand Blier delivers, once more, an unclassifiable film and gladly provocative, who can leave you perplexed but not indifferent.