Vincent Van Gogh (Jacques Dutronc) and Marguerite Gachet (Alexandra London)

According to Maurice Pialat the relationship between Vincent and Marguerite Gachet is characterized by the incompatibility between the intensity of spiritual pain torturing Van Gogh who was slipping closer and closer to the inevitability of his suicide and Marguerite’s hopeful youth which only touches reality through intuitive feeling of Vincent’s permanent torment without understanding it.

In the shot above the both are concentrating on the mutual feeling that their destinies are separate in spite of the magic touch of their love – they’re together, their bodies feel one another, but their gazes aren’t synchronized – Vincent looks at the dead end of his life, Marguerite somewhere else without knowing what and where it is. Our impression is that Van Gogh is looking at himself – outside of him. Marguerite is looking to the side from both of them, as if she senses what can happen soon and that she is locked in having to live alone – away from both of them. She doesn’t know why.

Only he knows that to open the door to his art he has to die. People are interested in sensationalism of great sacrifices – only this can move them – not art, not life. After his death Marguerite will understand what’s happened – she will witness his success. People are interested in his art only because it is an echo of his death. And she will live with it as she lived with him. She will love his art as she loved him – as when she was trying to hide her passion for him from her father. She will not advertise her association with him in front of the public. She will be ashamed, not for herself – she was too young to help him. She will be ashamed for people as she is for her father – for all the people allowing to destroy his life.