Philippe Garrel decides to re-read the story of his relationship with his father, actor Maurice Garrel, who recently passed away, making interpret him to his son Louis and putting a little girl (played by the extraordinary Olga Milshtein) in the position that in reality it was his.

In this psychoanalytic chaos that would make the joy of Lacan, then we find the usual autobiographical vein of the French director, the usual desire to get involved and to make the film and the images an instrument of truth and folding inward. The 77 minutes of "La jalousie", much more "narrative" by the standards of Garrel, run away fast in the beautiful black and white photographed by Willy Kurant and undoubtedly some scenes, especially thanks to the impeccable performance in low-key of all the actors, have a very strong "emotional" realism. But there is one aspect of Garrel's cinema that some ill-digested (and who writes this post is one of them), and that appears to be particularly marked in the second part of the film, mysteriously entitled "Sparks in a Powder Keg": it is that "plastic" intellectualism, a little 'snob, that makes many things seem contrived , makes many dialogues dramatically emphatic and dusty, makes many situations marked by a bit' cheesy cinéphilie and by a forced lightness and that in the long run produces exhaustion in the viewer.

Not to all, of course, since here at Lido the army of convinced "garrellians" it is still large.

I wonder how many of them there are in the jury that must assign on Saturday the Golden Lion...