"Garrel's greatest and toughest film is probably J'entends plus la guitare. Guitare is set across a long span of time, although we never know exactly how long. (A) series of ellipses poetically suggest the way that life moves on against the current of a past that refuses to go away. Benoît Régent is the Garrel surrogate here, a mildly self-possessed presence of real intelligence bewildered if not defeated by time. Régent's Gérard, and the luminous Johanna Ter Steege's Marianne, coast into heroin addiction on a wave of exactly the kind of childish curiosity and stubborn utopianism that characterized a lot of the post-'68 generation. And of course, such a love can't go on. Gérard is rescued from addiction and nursed back to health by Aline (Brigitte Sy), with whom he has a child and leads a stable, bourgeois life. Perhaps the most piercing moment in all of Garrel's work is a confrontation between Aline and Marianne in a cafe. All these pieces of personal and cultural memory are woven into the lovely image of a crying woman."-Kent Jones, Film Comment (condensed)