A Week's Vacation
- Nathalie Baye: Laurence
- Gérard Lanvin: Pierre
- Flore Fitzgerald: Anne
- Michel Galabru: MANCHERON
- Philippe Noiret: Michel Descombes
- Philippe Leotard: Doctor Sabouret
- Jean Dasté: The father of Laurence
- Marie -Louise Ebeli: The mother of Laurence
The French feature holiday for a week ( Une semaine de vacances ) originated in 1980 under the direction of Bertrand Tavernier. The work was in 1980 in competition for the Palme d'Or in Cannes. Nathalie Baye in 1981, nominated for a César Award for Best Actress.
Action
The 31 -year-old Laurence is a teacher. One morning she suffered on her way to work a nervous breakdown. Sabouret, a fellow doctor, she writes sick for a week. She struggles with her work, is disappointed by the uniformity of their students and do not know how further in their lives. The laconic nature of her partner Pierre, even though he loves her, she brings not in this situation. During this time she dodges his caresses and teeming from her brother. Dear she argues with her colleague Anne. She befriends MANCHERON, the jovial father of a rebellious student to. Visiting their powerless towards living right parents aborts prematurely. Whether they want to have their own child ever, they can not answer. MANCHERON invites you to a dinner at which his old schoolmate Descombes participates. They talk about their insights and experiences on students and teachers. Finally, Laurence is clear that she is a teacher like basically, so she returns to the week " vacation " with renewed confidence to back to school. However, Anne depends the teaching profession on the nail.
About the film
Holiday for a week is a Lyonner film. It shows a small metropolis, a city that is populous enough to be a city, but small enough to allow for chance encounters with acquaintances. Philippe Noiret plays the character Michel Descombes as that which he has already embodies The Clockmaker of St. Paul ( 1974) in Tavernier, a film that also in Lyon, the birthplace of the director, was going on.
Bertrand Tavernier deals with the grief of life teachers. The education had hitherto been in the French film hardly a subject. The director explained that he making films, to learn. During the preparations he interviewed many students who come to the movie Word, and teachers. His co-author Marie -Françoise Hans was for twelve years a French teacher, her book pour une jeune fille Esquisse was the basis of the script. Some lessons scenes are interwoven by means of flashbacks into the action. The drama revolves not around the Unangepassheit a teacher, but a much more general weariness that every person can feel one day times, a form of timeless existential angst. Tavernier spoke of " a moment in which one has no desire to run after things, but they prefer to stop and take the time to look at them. "
French reviews
According to Le Monde have managed cameraman Glenn, the light Lyons to capture the special atmosphere of this city of secret beauty. Tavernier shows how the cinema of reality can take into account without forcing their demonstration. Le Nouvel Observateur found it remarkable that no connecting place, not through thought existed in the amount of information and considerations that let pass in the dialogues and images Tavernier. "Children, parents, teachers, and secondary characters are perceived with a Intellignez which is totally free and penetrating. This film is set at the level of an essay, a font, and yet it is entirely a movie. The filmmaker Tavernier knows how to put us in a few seconds with the touch in what the own, the Irreplaceable makes each of the filmed persons " And Le Point ". Neither preacher nor a technocrat, Tavernier raises the destruction of the educator 's tender look the wrong short-sighted, seeing things that are hidden behind things. The fighter for good cause, otherwise inherent in him, has also taken holidays. A kind verbrüderndes consent of inexplicable joy is greater than this chronicle of a dwindling consciousness. The teachers usually included in their problems as redskins in the face of extinction obtained here a human face. "
La Revue du Cinéma described the work as "a complex development path from doubt towards certainty. Not a blessed certainty that is owed to any faith, but a measured, deliberate assurance that can come from ourselves only from the depths. " Doubt, makes it seem Laurence at the futility of their actions, was not an isolated case, and the film a perfect match for the sociological situation of France. Similarly praised Télérama: " Bertrand Tavernier's originality lies not to display educational problems didactic manner, but to break through all the characters to have them transformed into delicate, everyday emotions. " The practice of doubt is a necessary adventure. " For Laurence is one obvious: Nothing Preconceived, no system. Beyond institutionalized power relations, must and can live everyone's life. " Specialists on the subject of education had too many certainties, so L'Avant- Scène Cinéma, but Tavernier did before all doubt. In any case, he may come to the heart of the matter, he let the ink flow in streams and dialogues pour in torrents.
Retrieved from " brilliant compositions of frames " said Positif. To see whether the direct recording of a conflict-ridden present. This documentary approach make the film, free of teaching, according to political. The essential matter is the word, because Tavernier have been linked in his movies back to the tradition that was prevalent in the work of Marcel Carné and partly in Jean Renoir. The figures speak less with their interlocutors, as that their dialogues primarily served as a vehicle for information, which is addressed to the "spectator - consumers". He had often become abundantly clear: "It is not necessary to put on a i a point when there is a large i. " From these points, there is also on vacation for a week still some too much.
German reviews
The lexicon of the International film saw a subtle woman portrait " between restrained, subtle and elaborate stage play, entertaining large-scale production " vary. However, the film did not succeed to match the individual history with the social criticism. Similarly, although the portrait Cinema called " warm ", but " no real punch line " and found an indecisive wavering " between sensitive study and thesis cinema."