that Catherine and Jean are not made to become old together is obvious. Why they still do not succeed and will not, get away from each other is unclear. Pialat tells the story of her perpetually on / off relationship in such a hard ellipses that some scenes are only the end of her course. This makes a psychological or directed to external causality interpretation. In the disconnectedness and randomness of the encounters between Catherine and Jean, who never fit into a continuous development, is bordered Nous ne pas ensemble vieillirons aware of those great Beziehungsdialektikern of the Western European auteur cinema - from Ingmar Bergman's Scener ur ett Jacques Rivette äktenskap to Amour fou - to which it was to do in the wake of the soixante-a critical assessment of the heterosexual couple. Dependencies can be found here and there, but hinted in some humiliation that can be dropped Catherine protest, even played. That they eventually but Jean is the country pass, but no answer, not an act of emancipation, but a contingent decision that would have been otherwise fail. Instead of love and hate this alternate self-absorption and boredom, the promise of amour fou is only the empty form: On / Off. Besides the elliptical narrative style is eye-catching as Pialat can continue to run several scenes after the execution of their narrative order, in the everyday life of his characters into moments of stillness, extended. Subjective memory a long time in jeans is just before the end of the film, which does not show what he sees, but which he - absently staring holes in the air - looks through it. C'est fini.
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