Two Films by Catherine Corsini: Leaving (2009) and An Impossible Love (2018)

Partir (Leaving, 2009)

Film posterSomehow, French films never seem quite as French as they could be until they have Kristin Scott Thomas in them, and so this film feels very French. It has all your classic themes of a slow-boiling relationship drama, not least adulterous passions leading to an explosion of violence and anger. Characters circle around each other, playing a talky psychological game about love, divorce, the ungrateful kids, and the threat of losing everything (or at least one’s access to a thoroughly bourgeois lifestyle). It’s fascinating to me how it is that Scott Thomas is such a fixture of this kind of French cinema, but she is, still, a very good actor.

CREDITS Director Catherine Corsini; Writers Corsini and Gaëlle Macé; Cinematographers Agnès Godard; Starring Kristin Scott Thomas, Sergi López, Yvan Attal; Length 85 minutes; Seen at home (DVD), London, Sunday 14 April 2019.


A woman is followed by a smoking man

Un amour impossible (An Impossible Love, 2018)

Film posterAfter making the 1970-set romance La Belle saison (2015), Corsini returns with a film that steps back a few decades but spans multiple generations. It starts with a young woman who has a passionate affair with a man; he’s charming and then he leaves, and at this point already the type seems familiar, from film as from life (not my own life; I do try to be better than that). But she keeps trying to reconnect with him despite his abandoning her while she was pregnant, and he comes back into their lives for brief moments over the following years, until things take a darker turn. However, even at this point it’s never about the darkness, as about this bond between mother and daughter, and the way that it’s seen by the mother (although the film as a whole is narrated by the daughter).

Virginie Efira’s performance as Rachel is really great, because so much is just on her looking, expressively, and even when she’s supposed to be in her 70s or something (towards the end) and the ageing makeup is alright but she’s hardly convincing as someone that age, it doesn’t really matter, because it all rests in that interaction between her and her daughter Chantal. In the end, then, it’s a character study of someone who loves too deeply, placed in a situation just as much by a society that rewards taking a man’s name as by this feckless man himself (although he is clearly at fault, and an awful man besides), who pursues something — a connection, a patrimony, an idea of the ideal family — that ends up hurting her daughter more than her.

Basically, there’s a lot going on in the film, a lot of barely-buried emotion, which never overwhelms the story, or becomes melodramatic or cloying, but is always there.

CREDITS Director Catherine Corsini; Writers Corsini and Laurette Polmanss (based on the novel by Christine Angot); Cinematographer Jeanne Lapoirie; Starring Virginie Efira, Niels Schneider; Length 135 minutes; Seen at Curzon Soho, London, Monday 7 January 2019.

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La Belle saison (Summertime, 2015)

Who amongst us isn’t a sucker for likeable sun-dappled French lesbian romances set against the background of feminist struggles in the early-1970s? This film focuses on a romance between two unlikely women — a young farmer’s daughter, Delphine (Izïa Higelin, apparently better known as a singer), and Carole, a Parisian feminist activist (Cécile de France, who despite her name is actually Belgian). Delphine struggles to hide her feelings from her rural family and friends, so moves to Paris, where she quickly falls in with the ostensibly straight Carole at a feminist meeting. This setting is familiar from earlier works like Agnès Varda’s L’Une chante, l’autre pas (1977), but it’s captured well here, with the fierce political polemics and passionate leafletting in support of a shared cause. The two women fall for one another of course, though not all the plot contortions are believable. Nor can I hardly speak to the emotional truth of what it is to be a woman in love with another woman, but I’m also willing to believe that the writers and director of this probably know more than the guy behind, say, Blue Is the Warmest Colour. Still, the performances by the two leads are vibrant and really nicely done, so I liked this film.


NEW RELEASE FILM REVIEW
Director Catherine Corsini | Writers Catherine Corsini and Laurette Polmanss | Cinematographer Jeanne Lapoirie | Starring Cécile de France, Izïa Higelin, Noémie Lvovsky | Length 105 minutes || Seen at Curzon Bloomsbury, London, Monday 18 July 2016