Unusually choppy, with a lot of complicated set-ups featuring one or two lines of dialogue. The most memorable scene was towards the end during the couple's 15th or 16th argument while a black cat follows them along a street and observes them with admirable forbearance. The trooper stays with the shot all the way to the end. Pink Floyd and Néstor Almendros reputation's are not dependent on this movie. Left me with a big and a small mystery: What was Wolf's business and what was going on with Charlie's hair acting as sideburns?

German youngster Stefan hitchhikes from cold and rainy Germany to Paris "looking for the sun". In Paris he gets acquainted with lowlife Charlie and mysterious Estelle. After a burglary with Charlie, Stefan follows Estelle to Ibiza where she is not exactly welcoming him. Estelle is busy with her friends, a proto-hip crowd of drug addicts, and with German doctor Wolf, her alleged lover and pusher.At first against hard drugs, Stefan quickly turns into a major user himself. When Estelle steals some dope from Wolf, the couple goes hiding in the solitary luxury of a beautiful villa overlooking a desert coast where they spend a hot summer of sex and drugs, hiding from Wolf. At the end of the summer, all Stefan has left is a major addiction to heroin and the need for a job. Who could be better to supply both but Wolf? When tragedy ensues, Estelle has already made a move out of Stefan's life.The weakest part of the movie is the Stefan-Estelle relationship. Based on nothing more than lust, it seems hardly likely to inspire a tragic devotion. The movie does not work well either as a cautionary tale against drugs. It does not dwell on horrific details explored on later movies. In fact, it may even inspire a sort of nostalgia for a simpler past (minus the heroin) and lusty summers spent on desert islands. Nevertheless, the unadorned approach and documentary style work well for the minimalist tale.My personal impression is that the bare settings were due to lack of funds. However, it should be noted that the soundtrack is signed Pink Floyd, albeit not yet a super-band (the main reason why the movie is still circulating) and Mimsy Farmer's wardrobe is quite nice and above the standard hippie clothes one would expect for her character.

"More", maybe, is mostly remembered for the excellent soundtrack composed by Pink Floyd -in 1969 they weren't superstars yet. Actually they made an album with the film music, no fan can miss it!But this is also the first film of German-French director Barbet Schroeder: it's a cult movie. When it was released, censorship everywhere cut several scenes of sex and drugs. It is also one of the first films to treat explicitly the theme of drug slavery.A German boy travels to Paris and meets an American girl: they fall in love. Together they search for sun and exoticism. But it's a too high price love: she initiates him into drugs.In the Sixties anti-drug campaigns were not like today, there wasn't much information. On the contrary, in many milieus taking drugs was a sort of spiritual experience... So it's quite surprising to see a film of that period which describes a nightmarish heroin experience.The film is simple, not vulgar at all and shot in a "cinema-verité" style. Actors Mimsy Farmer and Klaus Grünberg are very convincing. "More" is a document of the end of the Sixties -and a document of the end of the hippies illusions as well.

Like many other people, I've heard about "more" and I wanted to watch it due to the music that was composed by Pink Floyd. I must say that I was truly disappointed, not because of the music but the movie in itself. it's a boring insipid movie that lacks rhythm. Where does this disappointment come from? According to me, from different things. First of all, the movie's subject, the drug links up badly with the idle sunny atmosphere of the movie. This one should have taken place in the sordid areas of Paris and should have gave birth to a dark and helpless climate,for example. Moreover, it's supposed to tell a descent into hell but this descent is softened and barely sketched out. Barbet Schroeder doesn't insist enough on the dramatic side of the story. You could have wished a little more of madness, cutting. On another hand, Schroeder doesn't succeed in gaining the audience's emotion and adherence in front of the two main characters' distress. You watch carelessly their trials with drug. Whereas the two main actors, they're perfectly inexpressive and hardly evolve during the movie, especially Mimsy Farmer. At the end, you only retain the beauty of the mediterraneans landscapes bathed in sunlight. The film created a huge sensation when it was released in 1969. Nowadays, it seems dated. The hippy culture is nothing less than a faraway memory.