Cast overview, first billed only: | |||
Delphine Zentout | ... | Lili | |
Etienne Chicot | ... | Maurice | |
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Olivier Parnière | ... | Bertrand |
Jean-Pierre Léaud | ... | Boris Golovine | |
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Berta Domínguez D. | ... | Anne-Marie |
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Jean-François Stévenin | ... | Le père |
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Diane Bellego | ... | Georgia |
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Adrienne Bonnet | ... | La mère |
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Stéphane Moquet | ... | Ca-Pe |
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Cécile Henry | ... | Maetitia |
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Michel Scotto di Carlo | ... | Stéphane |
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Anny Chasson | ... | Mme Weber |
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Jean-Claude Binoc | ... | M. Weber |
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Christian Lafitte | ... | Le conducteur |
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Christian Andia | ... | Portier 'Opium' |
Lili, a pouty and voluptuous 14-year-old, is caravan camping with her family in Biarritz. She's self-aware and holds her own in a café conversation with a concert pianist she meets, but she has a wild streak and she's testing her powers over men, finding that she doesn't always control her moods or actions, and she's impatient with being a virgin. She sets off with her brother to a disco, latching onto an aging playboy who is himself hot and cold to her. She is ambivalent about losing her virginity that night, willing the next, and determined by the third. The playboy's mix of depression and misogyny ends their unconsummated affair, so Lili has to hunt elsewhere. Written by <jhailey@hotmail.com>
(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon.)
This is a love story off the beaten track clearly in the tradition of Louis Malle and Francois Truffaut, told without prudishness or gratuitous violence.
The title refers to a children's dress size that the 14-year-old lead, Lili, played with snap by Delphine Zentout, is bursting out of. Billed as a "French Lolita," Zentout is not all that fetching at first glance. She's a chubbette with light skin and thick black hair and not exactly pretty. But she has intriguing eyes and a saucy way about her.
Lili is "discovering" her sexuality, but won't let herself be impregnated. The playboy, played with grace and economy by Jean-Pierre Leaud, falls in love with her in spite of himself and "tolerates" her reluctance while being partially satisfied in other ways, one of which we used to call a "cold f..." They are a believable match because sexually they are equal: she precocious, he experienced.
Catherine Beillat directs without sentimentality while guiding Zentout to an interpretation that transcends the American brat style and leads us to a thoughtful view of feminine sexuality.