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Day For Night review

Enjoy François Truffaut’s finest two hours all over again

“People like you and me are only happy in our work,” says the director of Meet Pamela, the film-within-the-film in François Truffaut’s finest two hours, a meta-movie foregoing Sunset Boulevard’s bile to suggest that its maker was happy in his job.

Made in 1973, Day scopes the foibles of cast, crew and cat on a film set, highlighting fearful line fluffs, dipso divas, petulant leads and moggies that won’t take their milk.

A winningly game ensemble (Jacqueline Bisset, Jean-Pierre Léaud) splashes satirical relish on the well- observed cringe-com scenarios.

But by casting himself as an indulgent onscreen director, Truffaut makes clear his love for the fleeting passions of film shoots and the fragile alt-families that pass through them.

Cinephiles will lap it up.

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