si je t'aime encore,

The scouts

Two lovers on a roof talking about the future—the premise alone reads like a parody of every French New Wave cliché ever made, which means either Pardon's being ironic or she's genuinely betting we'll swallow it whole. I'm betting she's betting, and I'm curious enough to see if she earns it.

Pardon positions this within the lineage of Rohmer and Varda—intimate dialogue, architectural framing, the rooftop as both literal and philosophical threshold—and the discipline of a two-minute runtime forces real formal choices about what gets said and what doesn't. This is a film that understands its own traditions.

The entire weight lands on the decision to keep the camera still while the conversation shifts emotional register—no cuts scrambling to tell us what to feel, just two people and the space between them, which turns out to be the whole film.