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

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.

Film posterCREDITS
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)

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.

Film posterCREDITS
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.

Summertime film posterCREDITS
Director Catherine Corsini; Writers 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.

גט – המשפט של ויויאן אמסלם‎ Gett: Ha’mishpat Shel Vivian Amsalem (Gett: The Trial of Viviane Amsalem, 2014)

There’s a powerful intensity to the presentation of this film, which is essentially a courtroom drama. Partly that comes from the fact that it is pretty much confined to a single room, where wife Viviane (co-writer/director Ronit Elkabetz) is attempting to obtain a divorce agreement (or gett) from her husband Elisha (Simon Abkarian). The room has a bland, clean starkness, and there are only a few camera set-ups possible to capture the two benches where Viviane and Elisha sit with their respective counsels, and the three judges who sit listening to their arguments. But a lot of the intensity is to do with the mismatch between the unchanging solemnity of this bureaucratic setting and the absurdity of Viviane’s situation, which unfolds over five years, with frequent titles indicating the passage of months between appearances. It’s not just that divorce seems normalised to modern Western viewers, it’s that the religious demands of the Israeli society within which the Amsalems live place all the burden onto the wife, with the husband largely unpunished for making little effort to mount a defence. There are no grandstanding speeches (when Viviane’s lawyer or she herself attempt anything of this nature, they are quickly shut down by the stern men who sit in judgement), it just quietly goes about documenting the manifest absurdities of the process, meanwhile hinting at details of the couple’s life together and the reasons for her actions.

Gett: The Trial of Viviane Amsalem film posterCREDITS
Directors/Writers Ronit Elkabetz רונית אלקבץ and Shlomi Elkabetz שלומי אלקבץ; Cinematographer Jeanne Lapoirie; Starring Ronit Elkabetz רונית אלקבץ, Simon Abkarian Սիմոն Աբգարեան; Length 115 minutes.
Seen at home (Amazon streaming), London, Sunday 3 January 2016.

Où gît votre sourire enfoui? (Where Does Your Hidden Smile Lie?, 2001)

Films About FilmmakingFor this first review in my themed month, I’ve chosen a documentary, the most straightforward way to deal with the art of filmmaking. Needless to say this one by Portuguese director Pedro Costa is hardly straightforward and instead presents an elegiac look at a vanishing art, filled as much with darkness as light in its depiction of two avant-garde filmmakers at work.


SPECIAL SCREENING FILM REVIEW: ‘Films about Filmmaking’ Theme || Director Pedro Costa | Cinematographers Pedro Costa and Jeanne Lapoirie | Starring Jean-Marie Straub, Danièle Huillet | Length 104 minutes | Seen at Institute of Contemporary Arts, London, Thursday 9 January 2014 || My Rating 4 stars excellent


© Arte

The majority of my reviews on this blog are of mainstream releases, and I can’t really pretend that the reviews for films I get around to seeing on the arid and obscure nether reaches of auteurist ephemera ever really garner much in the way of readership. Yet growing up in New Zealand there were few destinations to see decent films, so my tastes soon got shaped by the programming at the annual film festival and by my local video shop (Aro Street), and then of course I studied film at university. So I still get a thrill watching stuff that in our digital download age remains properly hard to come by, made by filmmakers with little regard for the norms of narrative cinema or apparent interest in the capricious tastes of audiences. The filmmaking team of Jean-Marie Straub and Danièle Huillet are figures from a past generation of cineastes that spring most easily to mind in this respect, just as Pedro Costa can be numbered among a more updated, modern strand of the same kind of cinematic mentality (though their methods are quite different). So this documentary made by the latter about the former, for an excellent French TV series called Cinéastes de notre temps (therefore not entirely obscure), was already fascinating to me, and seeing it in a cinema with the director present and a full audience reminds me that the cinema exemplified by Straub/Huillet and Costa need not to be quite so abstracted and rarefied a pleasure. Its appeal need not even be restricted to those with an interest in either of these auteurs, for the film which results is about filmmaking as a craft — primarily via a focus on film editing — and about finding that passion for something you love, even as it all feels a little bit elegiac.

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