from my best The Mother and the Whore aka La maman et la putain

The film focuses on three twenty-somethings in an unconventional love triangle in Paris during the summer of 1972. Alexandre (Jean-Pierre Léaud) is an unemployed young man involved with both a live-in girlfriend Marie (Bernadette Lafont) and the Polish nurse Veronika (Françoise Lebrun). He had picked up Veronika at a café after an unsuccessful reconciliation with a former love, Gilberte (Isabelle Weingarten). With Veronika, he begins a desultory affair. Although Marie affirms her indifference to Alexandre's affairs, she quickly changes her mind when she sees how close he becomes to Veronika. This leads to a growing estrangement between her and Alexandre. The film focuses less on plot or narrative than on the confused and ambivalent life style of these three young people in post-May '68 Paris.The Mother and the Whore is considered Eustache's masterpiece, and was called the best film of the 1970s by Cahiers du cinéma. It won the Grand Prix of the Jury and the FIPRESCI prize at the 1973 Cannes Film Festival. The film created a scandal at the Cannes Film Festival, as many critics saw the film as immoral and obscene or, in the words of the broadsheet Le Figaro, "an insult to the nation", while Télé-7-Jours called it a "monument of boredom and a Himalaya of pretension."After gaining little public recognition despite receiving praise throughout the years from critics and directors, such as Francois Truffaut and other members of the French New Wave, Eustache became an overnight success and internationally famous after the film's Cannes premiere. He soon financed his next film. The critic Dan Yakir said that the film was "a rare instance in French cinema where the battle of the sexes is portrayed not from the male point of view alone." James Monaco called it, "one of the most significant French films of the 1970s." Jean-Louise Berthomé said, "I am not sure that La mama et la putain, with its romances of a poor young man of 1972, doesn't say something new." Pauline Kael praised the film, saying it reminded her of John Cassavetes in its ability "to put raw truth on the screen - including the boring and the trivial."The film's reputation increased over time. In 1982 the literary magazine, Les Nouvelles Littéraires, celebrated the tenth anniversary of the film by publishing a series of articles on it.