A brilliant dialectical filmmaker, Preminger extracts the last ounce of pathos from the anguish of the mute witness.

Jean Seberg is as captivating as ever in Otto Preminger's newly restored 1958 drama.

Underneath the endless round of parties and nightclubs, there is a desperate, secret sadness, and Seberg's stare at the camera is haunting.

Bonjour Tristesse works because it keeps Sagan’s words at the center.