A superb film from Téchiné. The small town of Villeneuve-sur-Lot is filmed beautifully, the characters are well-drawn, the story moves along believably (not always the case with this director). Gael Morel as François is fresh, ardent and appealing; his love for Serge will not be returned, to his chagrin. Élodie Bouchez impresses us as Maité, who has grown up without a father; in a sense, the Communist Party has become her father. The one sinister character is Mariani the pied-noir: his bigoted notions of life have been formed by his parents and the OAS, he has no real philosophy just an internalized sense of rage at the unfairness of life.There are wonderful scenes. Mme Alvarez, the teacher at the lycée, might help Serge's older brother to desert from the army so he won't have to go back to fight in Algeria, but refuses to do so out of professional pride. Later she hears of the young man's death in combat and falls into a profound depression. The sleep cure is prescribed for her, it's a cure worse than the disease. Mariani has a chance to pass his bac if he works hard (he has already failed it) but working with the teacher Morelli (a pied-noir himself) is forcing him to confront his mental strait-jacket. Since he would rather be wrong in solidarity with his parents than right with these progressive Frenchmen he despises, he abandons his studies. The student-teacher confrontations are sour and hopeless.

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.

The ending sums up the entire movie. Exiting the Garden of Eden, these 3 strong, yet weak teenagers find themselves lost among the world. Sexually, they have somewhat of a clue what they want and don't like, but by the end of the movie, we are left with something of a complex conclusion. All three have an idea who they are. Even though they are still lost with no one to talk to, they find there way out of the Garden of Eden and back to the World where they belong. The movie ends with hope.

Director Techine once again has made a beautiful movie, this time concerning a group of teenage friends in southern France in the early 1960's. Techine uses the Algerian war as a catalyst for the interaction between the 4 friends. As the movie unfolds, each friend discovers how they're involved with one another, in dramatizatons that the French are so good at. Techine makes good use of the idyllic, pastoral French Pyrenee countryside to compliment the personal dramas unfolding in it. You can almost smell and feel the summertime around you. A touchingly-done coming-of-age film for all ages, not just teens. So successful was the pairing of Rideau and Bouchez that they went on to make several other movies together, one of which was directed by Gael Morel, one of the stars in this movie as well.