Partir (Leaving, 2009)
Somehow, 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.
Un amour impossible (An Impossible Love, 2018)
After 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.