Antoinette dans les Cévennes (Antoinette in the Cévennes aka My Donkey, My Lover & I, 2020)

Finishing off my week of films I saw at Wellington’s recent French Film Festival is this recent release, which went swiftly into the cinemas and I think has probably done quite well, presumably based on the lead actor’s profile in Call My Agent! (which is certainly where I know her from). I hadn’t realised Robert Louis Stevenson had been a pioneer of hiking, or had links with this area of France, but that was one of the things I learned from this otherwise rather silly (but fun) movie.


Did Balthazar truly die so that Patrick could take a walk with Laure Calamy in the Cévennes? I was all ready to be snarky and dismissive along those lines, but actually this is quite a sweet and even rather funny film in which Calamy basically reprises her role as Noémie in the TV show Call My Agent! but as the titular Antoinette, lovestruck over a married man and barely holding herself together at times, but finding through her journey an inner resilience (nurtured by a growing bond with Patrick the donkey, etc. etc.). I mean, it should all be unwatchable really, but Calamy (a bit like Jane Krakowski on US TV shows like 30 Rock) has a gift at imbuing what seem like shallow caricatures with an inner humanity. She’s introduced as a teacher changing at the back of her classroom into a spangly dress to lead her kids in a rendition of a thematically very inappropriate and slightly gothy song to a group of parents, while winking at what we all assume is her boyfriend, but turns out to be the (married) parent of one of her children, and when he heads off for a holiday with his family, foolishly decides to secretly stalk him. It’s the pure sociopathic stuff of romcoms, but as ever is negotiated largely through having such a likeable lead. Basically, it shouldn’t really work, but it does.

Antoinette dans les Cévennes (Antoinette in the Cévennes aka My Donkey, My Lover & I, 2020)CREDITS
Director/Writer Caroline Vignal (based on the book Travels with a Donkey in the Cévennes by Robert Louis Stevenson); Cinematographer Simon Beaufils; Starring Laure Calamy, Benjamin Lavernhe, Olivia Côte; Length 97 minutes.
Seen at Penthouse, Wellington, Tuesday 15 June 2021.

Fidelio, l’odyssée d’Alice (Fidelio: Alice’s Odyssey, aka Fidelio: Alice’s Journey, 2014)

There is, I think, a deceptive forwardness to this film: it’s about the woman of the film’s title (Ariane Labed) who works as a ship’s engineer and is torn between her dependable Danish artist boyfriend Felix, landside, and an old flame, Gaël (Melvil Poupaud), a dashing ship’s captain, while on the sea. The ship’s name then, also part of the title (Fidelio), suggests already the key theme of fidelity, while the drama is presented without a great deal of fuss, and unfolds as one might expect, along with the kind of graphic sex scenes to which you might think censors would have given a higher classification. But it’s not prurient or exploitative, and the fact of her job being what it is and the way she takes pleasure from sex seem like aspects of a narrative which would have been cheered about in a film of 10 or 15 years ago (it shares some kinship with the films of Catherine Breillat in these respects), and which even here are worth acknowledging. That the film requires Labed to be a believable ship’s engineer is somewhat the least of her acting challenges in this film, as instead she needs to negotiate the tricky emotional terrain of having relationships with two men without making this seem like some flighty affectation. In any case, she does so admirably well, making for a fascinating psychodrama.

Fidelio: Alice's Journey film posterCREDITS
Director Lucie Borleteau; Writers Borleteau, Clara Bourreau and Mathilde Boisseleau; Cinematographer Simon Beaufils; Starring Ariane Labed, Melvil Poupaud; Length 97 minutes.
Seen at ICA, London, Tuesday 6 October 2015.