Nathalie Granger (1972)

Like a proto-Jeanne Dielman, nothing much happens in this film. Or everything maybe. It’s a quiet film, with long stretches barely even encumbered with sound effects let alone dialogue or music. Frequently figures have a spectral presence, as names on a tag, a closing door, voices off camera, a shadow on a wall. The set up is two women (sisters perhaps?) and the troubled daughter of the title. A lot of looking off frame, out of windows, and an amusing role for young Gérard Depardieu as a fumbling salesman while the women just shake their heads quietly at him, saying no. I think a lot more is going on here than is initially apparent (there’s a background radio story about young killers on the loose), but it asks the audience to fill in much of the blanks, a bold narrative strategy. I suspect if I watched it again there would even more mystery, something lacking in too many films.


FILM REVIEW
Director/Writer Marguerite Duras | Cinematographer Ghislain Cloquet | Starring Lucia Bosé, Jeanne Moreau, Gérard Depardieu | Length 83 minutes || Seen at home (DVD), London, Saturday 1 October 2016

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