French cinema
Tom Birchenough
The end of empire has rarely looked more cinematically beguiling than in Régis Wargnier’s Indochine, the visually lavish 1992 drama written for Catherine Deneuve, who gets the film’s epigraphic line about “believing that the world is made of things that are inseparable: men and women, the mountains and the plains, human beings and gods, Indochina and France…” Substitute Communism for “gods” in this somewhat faux-glamourised depiction of an independence movement, and it becomes clear why that final pairing didn’t last.Indochine has moments of visual glory that raise it to the ranks of truly Read more ...
Tom Birchenough
Olivier Ducastel and Jacques Martineau have described the budget on which they made their latest film Theo & Hugo – the French directors have been collaborators, as well as partners, since the mid-1990s – as a “pirate” one, its restrictions imposed not least by the fact that they had written a first sequence so sexually explicit that they believed it closed access to the usual public funding sources even in France. The film’s opening 20 minutes certainly have a bracing explicitness that put it almost on the boundary with pornography, although what follows morphs into a rather tender gay Read more ...
Nick Hasted
Paul Verhoeven directing Isabelle Huppert as a woman seemingly unfazed by a violent rape sounds a recipe for outrage. Elle (★★★★) , though, provokes in subtle, lingering, sometimes comic ways. The rape of Michele (Huppert) mostly happens off-screen during the opening credits, though the ski-masked intruder’s violence in her plush, gated Paris house will be replayed as memory and fantasy. It’s what happens next that lurches right off the rails from the leering salaciousness, traumatised horror or rape revenge cinema usually gives us. Michele cleans up, and gets on with her day. She isn’t the Read more ...
Nick Hasted
Stéphane Brizé’s film is about the grubby tyranny and humiliation of working life. Middle-aged Thierry (Vincent Lindon, Best Actor at Cannes and the Césars) has a hangdog face which fails to mask his anger after being unjustly laid off. He seems traumatised, tense. And every time he attempts to work, more self-respect is chiselled from him. At the job centre, or in an unexpected interview by Skype, his manner, posture and age are picked over as if he’s raw material or a coat on a rack, not a human being. Thierry lacks, he is told, “amiability”. He can’t quite bring himself, in other words, to Read more ...
Markie Robson-Scott
"Did she bite you often?" Julien Gahyde (Mathieu Amalric) is being questioned about his affair in minute detail, over and over again, by lawyers and detectives. This is an ingenious flashback device. We don’t know yet what crime has been committed, but his lover Esther (Stéphanie Cléau) draws blood right at the start of this claustrophobic and ambiguous film, set in a provincial French town somewhere near Poitiers.Their passion is the grandest thing for miles around: you can sense the frustration behind the unassuming shop-fronts and flat landscapes. La France profonde-ly dull, where everyone Read more ...
Tom Birchenough
One of the many astonishing things in Mia Hansen-Løve’s fifth film is watching Isabelle Huppert hold back tears. In one scene they smear almost involuntarily down her face, in another she transforms them into a bark of nervous laughter. Huppert plays Nathalie Chazeaux, a sixty-something Paris philosophy teacher, who paces the film with almost frantic speed while her life unravels around her.Finally, when the immediate causes of her grief have passed, she surrenders to sobbing. It’s a beautifully delayed scene that catches the build-up of emotions (pictured below), her only company in her Read more ...
Tom Birchenough
There are memorable appearances from two great actors playing close to the top of their game in Guillaume Nicloux’s Valley of Love, but they’re almost upstaged by something else. Nothing human – though their reunion and interaction in the film is being “directed” by an absent third party – but rather the environment in which they find themselves: the stark desert beauty and almost unbearable temperature of California’s Death Valley.The fact that they are played by Isabelle Huppert and Gérard Depardieu, who play characters named Isabelle and Gérard, themselves two actors of a certain vintage Read more ...
Tom Birchenough
Set at the beginning of the 1970s, Catherine Corsini’s Summertime (La belle saison) is a story of love in a political climate, one in which the post-1968 assertions of a changing society have infused the public context in theory but do not ultimately translate into liberation for the film’s two lead women characters. The restrictions of tradition, especially in the rural world in which the greater part of Summertime is set, finally prove too strong for their relationship.Delphine (Izïa Higelin) has grown up on the land, the only child of smallholders in Limousin: it’s a beautiful, sparsely Read more ...
Tom Birchenough
You may never have heard of Florence Foster Jenkins, although she has definitely earned a certain renown among music-lovers. For all the wrong reasons: the American soprano, who performed at private recitals in the early decades of the last century, before a climactic Carnegie Hall appearance a month before her death in 1944, was famous for the sheer awfulness of her voice.More a phenomenon than an artist, she was certainly a paradox: her dedication to classical music was all-consuming, as total as her inability to perceive that she had none of the technical accomplishment required to perform Read more ...
Kieron Tyler
Fidelio: Alice's Journey can literally be described as relating a journey of self-discovery. A mechanic on the Marseille-registered freighter Fidelio, the equally titular Alice navigates the seas with an all-male crew and explores who they are while investigating her own sexuality.She’s left her cartoonist boyfriend Felix (Anders Danielsen Lie) on dry land and tells him to use “C” for cock and “P” for pussy in their e-mails to disguise what they’re discussing. Soon, things become more complicated. The ship’s captain Gaël (Melvil Poupaud), turns out to be her first great love. Alice (Ariane Read more ...
Kieron Tyler
It’s a general rule that extras on a home cinema release should not be watched before the feature. This sumptuous box set of French art-auteur Jacques Rivette’s most – until now – hard-to-see films reverses that. Just as the director turned the nature of cinema on its head with his oblique, often-lengthy, dream-like contemplations, The Mysteries of Paris: Jacques Rivette’s Out 1 Revisited must be seen before Out 1: Noli me tangere, as a way in to the just-short of 13-hour epic it examines.Out 1: Noli me tangere (filmed in 1970, but screened once in its entirety in 1971) is The Jacques Rivette Read more ...
Kieron Tyler
Michel Gondry’s last film, the unwatchably hyperglycaemic Mood Indigo (2013), was so arch and quirky it irritated more than appealed. Thankfully, Microbe and Gasoline resets the dial to the charm levels of 2008’s Be Kind Rewind. And things hadn’t been plain sailing before that too. The stilted, US-made The We and the I (2012) suggested that, after The Green Hornet, Gondry was a fish-out-of-water in America. Microbe and Gasoline is low-key, sweet, warm and made in France.Microbe and Gasoline (Microbe et Gasoil) is straightforward and feels autobiographical. It tells the story of the friendship Read more ...