Set largely in the small mountainside village of St. Radegund, Austria from 1939 to August of 1943, the film revolves around the life of Franz Jagerstatter as a farmer who tends his family land with wife Fani as well as their three young daughters, his mother, father-in-law, and sister-in-law Resie (Maria Simon) as World War II begins as he refuses to fight for Nazi Germany due to his principles and questions into why should anyone kill another person? It’s a film with a simple premise as it play into a man with strong beliefs as he copes with what he’s being asked as he would also be aware of the horrors of war just as his village is being swept up by the ideology of nationalism. The film’s screenplay by Terrence Malick is a largely straightforward affair as he returns to a traditional three-act narrative following a period of loosely-based films with no scripts. Notably as much of the script is based on corresponding letters, notes, and diaries from Jagerstatter and his wife where Malick maintains this narrative of a man holding on to his faith and his devotion to God during a tumultuous time that is World War II.
A common trait in Malick’s work is in the voice-over narrations as the film is told through both Franz and Fani with the first act being about their life together at St. Radegund as farmers raising three young daughters with Franz briefly leaving to do basic training until France’s surrender to Germany where he is sent home. Yet, his return home to his farm life is brief as the war rages on where able-bodied Austrians have to swear an oath of allegiance to Adolf Hitler and the Third Reich as it’s something Franz just couldn’t do. Even during his time in basic training, he saw images that haunt him as he goes to his local priest in Ferdinand Furthauer (Tobias Moretti) for guidance as the priest does give Franz a chance to speak with Bishop Joseph Fleisser (Michael Nyqvist) for advice but doesn’t get anything that will help him. The film’s second act play into Franz trying to decide on what to do as he and his family become ostracized over his beliefs as he would go to prison and await his fate with Fani dealing with the verbal abuse of many locals despite the help of a few.
Malick’s direction is definitely rapturous in not just in his overall presentation but also in maintaining something spiritual in the world he’s in. Shot on various locations in northern Italy near the Alps with some parts shot at the Studio Babelsberg at Postdam, Germany and the meeting with Bishop at Brixen, Austria. The locations for St. Radegund is a character in the film where Malick’s usage of wide and medium shots of its mountain ranges, skies, trees, grass, and wheat fields really play into this idyllic world that is simple and almost disconnected from the world of the cities as if they’re not distracted by its chaos. Shot on various styles ranging from these gliding tracking shots on Steadicams or in these hand-held camera shots with wide lenses that gets a lot of coverage of the rooms or locations these characters are in. Malick does play into a world where everyone knows everyone and treat each other with kindness and decency but then news about World War II and Austria being swept up by German nationalism of the Nazis where everything changes.
The constant imagery of nature does play into the tone of the story where the usage of dark rain clouds and dark colors do emphasize what is to come and how dark the world becomes with Franz and Fani both becoming ostracized for their beliefs. Malick does maintain that intimacy in the direction as it relates to the love between Franz and Fani through medium shots and close-ups as well as through their corresponding letters in the film’s second and third acts. Notably with Franz going to different prisons in Enns and later Berlin where he would meet his fate on August of 1943 as there are individuals, including a judge, (Bruno Ganz) at Franz’s trial who understands what he’s doing yet are aware of the consequences he is facing. Malick also would infuse stock footage that include rare home movies from Adolf Hitler and images of trains as it play into some of the narration about the dilemma that Franz is dealing as well as some of the abuse that Fani would go through.
Malick also showcase some of these fanatical moments of nationalism that definitely echo a lot of what had been happening in the U.S. in the late 2010s as it is clear that there is some political subtext that Malick has brought yet he chooses to state his views in a subtle and silent manner. Even with Franz being someone who is just asking simple questions that local leaders to those up in the higher echelons of the government at the time refuse to answer. Yet, Malick does something remarkable towards the end of the film that does have a near-three hour running time for a story that is simple as it says a lot about those who aren’t willing to ostracize nor take sides of anything by just being decent. Even as something as simple as faith being the one thing that allows a person to be grounded and ask these questions during a dark time of inhumane events happening as this one man stands up for his beliefs as well as be human in these horrific times. Overall, Malick crafts a touching and evocative film about an Austrian farmer who refuses to pledge his allegiance to Nazi Germany during World War II through an act of silent defiance.
Cinematographer Jorg Widmer does phenomenal work with the film’s cinematography with its emphasis on natural lighting as it helps capture the lush colors of green trees and forests as well as many of the natural surroundings with some low-key artificial lighting for some of the interiors as it is a highlight of the film. Editors Rehman Nizar Ali, Joe Gleason, and Sebastien Jones do brilliant work with the editing with its stylish usage of jump-cuts to play into some of the emotional elements of the film as well as some rhythmic cuts to play into the conversations. Production designer Sebastian T. Krawinkel, with set decorator Yesim Zolan plus art directors Steve Summersgill and Bryce Tibbey, does brilliant work with the look of the farm as well as some of interiors of the town as well as the prison interiors. Costume designer Lisy Christl does fantastic work with the costumes from the blue dress that Fani wears when she meets Franz for the first time as well as a lot of casual look of the people at St. Radegund and the Nazi uniforms of the times.
Hair/makeup designer Waldemar Pokromski does terrific work with the look of the characters in the hairstyle of the times as well as the facial hair in some of the male characters in the film. Visual effects supervisor Antoine Durr does nice work with the visual effects as it is largely bits of set dressing in some of the locations. Sound editor Brad Engleking does excellent work with the sound in not just capturing a lot of the natural elements of the sound such as the sharpening of the scythe as well as the locations and in the voice-over narrations. The film’s music by James Newton Howard is marvelous for its somber yet broad orchestral music score that adds to the drama while music supervisor Lauren Mikus helps provide a soundtrack that feature several classical music pieces Georg Fredric Handel, Avro Part, Johann Sebastian Bach, and Antonin Dvorak.
The casting by Anja Dihrberg is superb as it feature some notable small roles and appearances from trio of Ida Mutschlechner, Maria Weger, and Aennie Lade as Franz and Fani’s daughters, Amber Shave and Barabara Stampfl as younger versions of the two elder daughters, Karl Markovics as the mayor of St. Radegund, Johan Leysen as a church painter, Johannes Kirsch as a miller who is one of the few that treats Fani with kindness despite the behavior of the community, Franz Rogowski as a crazed local who lives in the woods, Mark Waschke as a kind blacksmith, Maria Stadler as an old widow that Fani helps out who later helps her in return, Alexander Fehling as Franz’s trial lawyer, Sophie Rois as Fani's aunt, Jurgen Prochnow as a military officer, Maria Simon as Fani’s sister Resie, and Karin Neuhauser as Franz’s mother who would resent Fani over her Franz’s decisions only to see the cruelty of her townspeople. Ulrich Matthes and Tobias Moretti are excellent in their respective roles as Fani’s father and the local priest Father Furthauer who are both supportive of Franz and Fani. Matthias Schoenaerts is fantastic in his small role as an Austrian official who tries to help Franz and to not get him in trouble while Michael Nyqvist in one of his final film roles is brilliant as the Bishop Fleisser who talks with Franz though he doesn’t give any answers possibly to not upset the Nazi regime.
Bruno Ganz is amazing as the trial judge who takes the time to understand what Franz is doing as he is also aware that the man has chosen his fate as it’s a somber performance from Ganz in one of his final film appearances. Finally, there’s the duo of August Diehl and Valerie Pachner in phenomenal performances in their respective roles as Franz and Franziska “Fani” Jagerstatter with the former as the farmer who refuses to fight for Nazi Germany based on principle as he also asks questions as he holds on to his faith as Diehl just displays a sense of humility and wonderment of a man standing up for his beliefs. Pachner as the latter has this air of grace in her performance as a farmer’s wife trying to raise her daughters and do all the farming duties as she dealt with the struggle of doing it by herself or with her sister as it’s just a radiant performance as she and Diehl just have this touching chemistry as they’re a major highlight of the film.
A Hidden Life is an outstanding film from Terrence Malick that features great performances from August Diehl and Valerie Pachner. Along with its ensemble cast, radiant cinematography, majestic music soundtrack, themes of faith and beliefs against the ideas of evil, and gorgeous locations. The film is definitely a drama that showcases faith in a positive way as it also play into a kind of act of humanity against something as inhumane as war and fanatical nationalism. In the end, A Hidden Life is a magnificent film from Terrence Malick.
Terrence Malick Films: Badlands - Days of Heaven - The Thin Red Line - The New World - The Tree of Life - To the Wonder - Knight of Cups - Voyage of Time: The IMAX Experience - (Voyage of Time: Life's Journey) – Song to Song - (The Way of the Wind)
© thevoid99 2020
Based on the novel by Jean-Emmanuel Conil under the Alain Page pseudonym and the 1969 film La Piscine (The Swimming Pool) by Jacques Deray and co-written with Jean-Claude Carriere, A Bigger Splash is the story of a rock singer and her filmmaker boyfriend who get an unexpected visit from a former lover and his newly-discovered daughter. Directed by Luca Guadagnino and screenplay by David Kajaganich, the film is an exploration of temptation and desires during a vacation holiday at the Italian island of Pantelleria. Starring Tilda Swinton, Ralph Fiennes, Matthias Schoenaerts, Dakota Johnson, Lily McMenamy, and Aurore Clement. A Bigger Splash is an evocative yet eerie film from Luca Guadagnino.
Following the aftermath of a concert tour and throat surgery, the film follows a rock singer who takes on a holiday to rest her voice where she’s joined by her documentary filmmaker boyfriend where their little holiday is disrupted by the arrival of her former lover and his daughter, whom he had just discovered,. During this time of relaxation at Pantelleria, temptations and other vices come into play as a woman finds herself not just being pursued but also being pulled into places she didn’t want to go into. David Kajaganich’s screenplay isn’t about a time of vacation being disrupted but also people being forced to look back as well. For the singer Marianne Lane (Tilda Swinton), she is exhausted as she rarely talks in order to rest her voice as all she wants to do is relax and spend her time with Paul De Smedt (Matthias Schoenaerts) who is a documentary filmmaker she met years ago during a profile for her producer/then-lover Harry Hawkes (Ralph Fiennes).
When Hawkes called one day during the vacation announcing he’s coming, he arrives with Penelope Lanier (Dakota Johnson) who is revealed to be his illegitimate daughter that is on board just to know more about him and what he does. The atmosphere of the holiday becomes more troubling as Hawkes’ very lively persona and his penchant for decadence doesn’t sit with De Smedt who is a recovering alcoholic/drug addict. Even Marianne becomes a bit overwhelmed by Hawkes yet still has some feelings for him as the vacation becomes tumultuous. Adding to this already troubled pot is Penelope as she is this quiet observer that doesn’t say a lot but manages to do things that would just escalate as she eyes De Smedt. The script would also have flashbacks that relate to Hawkes’ relationship with Lane but also how it fell apart which play into Lane’s own resistance towards him as she is very loyal to De Smedt.
Luca Guadagnino’s direction is definitely intoxicating and grand not just for the location but also for how it can turn intense due to the things that are happening. Shot on location at Pantelleria with some of it shot in New York and a concert scene shot at the San Siro stadium in Milan. Guadagnino creates a film that has this idyllic tone early in the film once it is about De Smedt and Lane having their holiday whether it’s sunbathing in the mud or having sex in their swimming pool. There is something simple in the way Guadagnino shoots everything in terms of the compositions whether it’s the wide and medium shots or in the close-ups. When Harry and Penelope arrive, the film becomes looser but also unpredictable where Harry kind of drives everything whether it’s taking Marianne, Paul, and Penelope to this restaurant that is kind of remote to dancing in front of guests at Marianne’s home to the Rolling Stones. The flashback scenes are straightforward to play into not just Marianne’s relationship with Harry and how decadent it was but also how she met Paul. Even in how it would create elements of resentment and such into all of those involved with the exception of Penelope.
The film’s second half is definitely eerie where it doesn’t just play into Penelope getting into everyone’s skin as she would try and seduce Paul during a scene near some rocky beaches. It also play into the dramatic tension that is emerging where it would come to ahead in the third act as it’s not just about some revelations relating to Penelope but also into all of the chaos that has emerged upon Hawkes’ arrival to Pantelleria. Especially where Marianne’s world is thrown into absolute chaos which threatens everything including her career and personal life. Overall, Guadagnino creates a provocative yet rapturous film about a rock singer’s vacation shattered by the visit of a former lover and his daughter.
Cinematographer Yorick Le Saux does brilliant work with the film’s cinematography with its usage of natural lighting for many of the exterior settings as well as the scenes set at night where it favors something more real rather than something that is more artificial. Editor Walter Fasano does excellent work with the editing as it is very straightforward with some jump-cuts and other stylish cuts. Production designer Maria Djurkovic, with set decorator Tatiana Macdonald and supervising art director Zsuzsa Kismarty-Lechner, does fantastic work with the interior settings of the house as well as the look of the remote restaurant the characters go into.
Costume designer Giulia Piersanti does nice work with the clothes from what the women wear such as the more casual stylish look of Marianne to the more youthful look of Penelope. Sound editor Emanuela di Giunta and production sound mixer Yves-Marie Omnes do superb work with the sound as it play into the natural atmosphere of the locations as well as the way music is sound in and out of a room. Music supervisor Robin Urdang creates an incredible soundtrack that features an array of different music including songs by the Rolling Stones, Harry Nilsson, a few originals sung by Swinton, and St Vincent doing a cover of the Rolling Stones’ Emotional Rescue as well as some music by Antonio Carlos Jobim and the German group Popol Vuh.
The casting by Avy Kaufman and Stella Savino is great as it feature some notable small roles and appearances from Elena Bucci as the housemaid Clara, Corrado Guzzanti as a local police investigator, Lily McMenamy as a young woman who joins the gang for sightseeing in Sylvie, and Aurore Clement as a friend of Harry in Mirielle who also goes sightseeing with Sylvie as her companion. Dakota Johnson is fantastic as Penelope Lanier as a young woman who is revealed to be Harry’s daughter as she observes everything that is happening around her while trying to seduce Paul as it’s a very quiet yet eerie performance filled with ambiguity. Matthias Schoenaerts is amazing as Paul De Smedt as a documentary filmmaker and Marianne’s boyfriend who knows Harry as he struggles with Harry’s presence as well as dealing with Penelope as he tries to maintain his sobriety and Marianne’s well-being.
Tilda Swinton is sensational as Marianne as she is seen in flashbacks as a wild and revered rock singer who has a lot of talent and such while the scenes in Pantelleria has her be restrained and trying not to say much yet sounds hoarse whenever she’s talking as she has a hard time dealing with everything around her. Finally, there’s Ralph Fiennes in an outstanding performance as Harry Hawkes as it is a performance that is just full of energy and a sense of danger where Fiennes definitely loosens up in a lot of ways while making a moment where he dances to the Rolling Stones into something that has to be seen.
A Bigger Splash is a spectacular film from Luca Guadagnino as it features an incredible cast in Ralph Fiennes, Tilda Swinton, Matthias Schoenaerts, and Dakota Johnson. Along with some beautiful technical work including its gorgeous location and a fun soundtrack, the film is definitely an intriguing drama that doesn’t play things safely while exploring ideas of temptation and living in the moment. In the end, A Bigger Splash is a tremendous film from Luca Guadagnino.
Luca Guadagnino Films: (The Protagonists) - (Tilda Swinton: The Love Factory) - (Mundo civilzado) - (Cuoco contadino) - (Melissa P.) - (The Love Factory No. 3 Pippo Delbono - Bisogna morire) - I Am Love - (Bertolucci on Bertolucci) - Call Me By Your Name - Suspiria (2018 film) - The Staggering Girl - (Fiori, Fiori, Fiori) – (Salvatore: Shoemaker of Dreams) – (We Are Who We Are (2020 TV series)) – Bones & All – Challengers (2024 film) - (Queer) - (After the Hunt)
© thevoid99 2017
Based on the novel by Thomas Hardy, Far from the Madding Crowd is the story of a young woman in Victorian Britain who finds herself being pursued by three different suitors as she copes with what she wants and the role she needs to take. Directed by Thomas Vinterberg and screenplay by David Nicholls, the film is a study of a woman who is offered opportunities to improve her life as well as give into the temptations of the world around her. Starring Carey Mulligan, Matthias Schoenaerts, Juno Temple, Tom Sturridge, Jessica Barden, and Michael Sheen. Far from the Madding Crowd is a sublime and compelling film from Thomas Vinterberg.
Set in 1870 Britain during the reign of Queen Victoria, the film follows the life of an independent-minded young woman who has inherited her uncle’s farm hoping to turn it into a source of income for a small British town as she is pursued by two different men while a farmer who works for her farm pines for her from afar. It’s a film that follows the life of this woman who is well-educated and humble as she is also an outsider of sorts that likes to work the farm as she has been raised by relatives. Yet, Bathsheba Everdene (Carey Mulligan) is also someone determined to make her own mark in the world as David Nicholls’ screenplay follow every move she makes through good and bad times as she struggles to maintain her independence as well as be pursued by three different men. The first in the farmer Gabriel Oak (Matthias Schoenaerts) is this man that is also an individual as he would court Bathsheba early on but after losing his own farm due to circumstances beyond his control. He would help Bathsheba make her farm profitable as it gets the attention of the second suitor in William Boldwood (Michael Sheen).
Boldwood is a character that is just as interesting as Bathsheba and Gabriel as he is a wealthy man that could give Bathsheba a lot to offer as he is also quite kind and has some respect for Oak. Bathsheba, Gabriel, and Boldwood are definitely characters who are more well-defined in not just their development but also as people that characters actually care for. Something the film’s third suitor in Sgt. Frank Troy (Tom Sturridge) doesn’t have even though his character arc is well-defined as someone who was supposed to marry someone else but a simple misunderstanding leaves him heartbroken until he meets Bathsheba and seduces her. While his character is meant to be this despicable and dishonorable man that Oak doesn’t approve of, he is someone that seems to be more fleshed out but never develops into something more engaging as he is a major flaw in the film’s script.
Thomas Vinterberg’s direction is definitely mesmerizing in terms of the world that he presents as it is largely shot on location in Dorset as well as other rural parts of Britain. While many of the wide and medium shots around the locations are simple, Vinterberg does maintain something that still revels in style as he creates something that owes a lot to period films of the past. Yet, he would create some compositions in the medium shots and close-ups to maintain an air of intimacy in the way the characters interact while displaying bits of restrained sexuality in the way Sgt. Troy seduces Bathsheba in a scene involving a sword. There are moments where there is a liveliness and a sense of community to the farming scenes where Vinterberg definitely has some unique visual ideas for the way the film progresses as many of the scenes set in spring, summer, and fall have something that feels open. Yet, when Sgt. Troy enters the picture is when things become tense and tumultuous where the look changes into something drab and then comes winter where it play into not just decline for Bathsheba but also loss and desperation. All of which play into the journey she took and the role she seems to crave for and try to return to in a world that isn’t welcome to individual ideas. Overall, Vinterberg creates an engaging though flawed film about a woman trying to define herself in Victorian-era Britain.
Cinematographer Charlotte Bruus Christensen does brilliant work with the film‘s cinematography from the usage of gorgeous sunlight for many of the exteriors as well as the way some of the interiors are lit for the scenes set at night. Editor Claire Simpson does excellent work with the editing as it is largely straightforward with some rhythmic cuts for some of the film‘s intense moments. Production designer Kave Quinn, with set decorator Niamh Coulter and supervising art director Julia Castle, does amazing work with the set design from the interiors of the estates of Bathsheba and Boldwood to the look of the small town where many of the locals socialize at. Costume designer Janet Patterson does fantastic work with the costumes from the dresses that Bathsheba would wear throughout the course of the film to the clothes of the men including Sgt. Troy‘s uniform.
Makeup artist Belinda Parish and hair stylist Tracy Smith does nice work with the hairstyles of the women of that time as well as some of the beards and mustaches of the men. Sound designer Glenn Freemantle does superb work with the sound as it play into the liveliness of the social gatherings and meeting as well as in the sparse moments in the intimate scenes involving some of the characters. The film’s music by Craig Armstrong is wonderful as it has these lovely orchestral flourishes that play into the drama while being low-key in some moments with the music soundtrack filled with folk songs of the time including a ballad sung by Bathsheba and Boldwood.
The casting by Nina Gold and Theo Park is terrific as it feature some notable small roles from Tilly Vosburgh as a relative of Bathsheba early in the film, Bradley Hall as a young farmhand in Joseph, Sam Phillips as a recruiting sergeant for the army, and Hilton McRae as another farmhand in Jacob who proves to be quite loyal to Bathsheba and Oak. Juno Temple is wonderful as Sgt. Troy’s old flame Fanny as a young woman who was supposed to marry him but a misunderstand would lead her to ruins. Jessica Barden is fantastic as Liddy as Bathsheba’s aide who observes a lot of what is going on as well as have her say about what Bathsheba should do. Tom Sturridge’s performance as Sgt. Troy is definitely one of the worst aspects of the film not because his character is underwritten but also for the fact that Sturridge often presents himself as smug at times while never really do anything to make the character interesting.
Michael Sheen is brilliant as William Boldwood as a wealthy but lonely neighbor who has land that is quite profitable as well as court Bathsheba kindly where it’s a performance of restraint and charm as while Sheen also displays some humility as someone that is just a good man. Matthias Schoenaerts is amazing as Gabriel Oak as a farmer who lost it all as he works for Bathsheba where he tries to maintain his feelings for her as it’s one of the film’s best performances as Schoenaerts display that anguish but willingness to be loyal to the woman he cares for. Finally, there’s Carey Mulligan in a sensational performance as Bathsheba Everdene as a young woman who has inherited an estate and farm from her late uncle as she hopes to make it worth something again as she struggles to maintain her independence while coping with the complications of love as it’s one of Mulligan’s finest performances so far.
Far from the Madding Crowd is a stellar film from Thomas Vinterberg thanks in part to great performances from Carey Mulligan, Matthias Schoenaerts, and Michael Sheen. Despite some of the shortcoming aspects of the script, the film is still an interesting period drama that explores a woman’s search for herself in a world filled with many rules to keep her down. In the end, Far from the Madding Crowd is a superb film from Thomas Vinterberg.
Thomas Vinterberg Films: (The Biggest Heroes) - Dogme #1-The Celebration - (It’s All About Love) - (Dear Wendy) - (Submarino) - The Hunt (2012 film) - (The Commune)
© thevoid99 2016
Based on the short stories by Craig Davidson, De rouille et do’s (Rust and Bone) is the story of a man trying to find his way in the world as he meets and falls for a killer whale trainer who had just lost her legs in a freak accident. Directed by Jacques Audiard and screenplay by Audiard and Thomas Bidegain, the film showcases the power of human connection through tragedy and longing. Starring Marion Cotillard and Matthias Schoenaerts. De rouille et do’s is an extraordinary yet powerful film from Jacques Audiard.
Arriving from Belgium to the south of France with his young son Sam (Armand Verdure), Ali (Matthias Schoenaerts) moves in with his sister Anna (Corinne Masiero) and her husband Richard (Jean-Michel Correia). Hoping to find work, Ali goes through several jobs including being a club bouncer where he stops a fight where a woman named Stephanie (Marion Cotillard) was accidentally hit and received a bloody nose. Ali takes Stephanie back to her apartment to heal his swollen hand as he leaves his number to her in case she wants to call. Ali continues to find something that will give him some good money where he learns that Stephanie was in a freak accident during her work as a killer whale trainer where she lost her legs. Despondent over the loss her legs and her well-being, Stephanie calls Ali needing him to keep her company.
Ali and Stephanie begin a relationship of sorts where they would occasionally have sex but also keep her company as she watches him take part in illegal fights. Ali also takes part in helping his friend Martial (Bouli Lanners) to put in tiny cameras in various places for the bosses to spy on their staff. Despite their time together, Stephanie begins to question about the nature of their relationship due to Ali’s actions where he finds himself in trouble of his other work with Martial. Particularly where it would cause some dire consequences as Ali is forced to question what kind of man he’s supposed to be.
The question of how people come together is an interesting one as this film is about two very different people who connect through not just tragedy but also to find some direction in life. In Ali, here’s a man that is extremely flawed as he is a well-meaning but inattentive father who leaves his child in the care of his sister and her husband who have enough problems of their own. Ali is also someone who is quite immature and is willing to have sex with anyone and seems to put his own interests first before anyone else’s. In Stephanie, here’s a woman who already has a life but is seemingly unfulfilled until she loses her legs in a freak accident where she goes into a period of shutting herself out from everyone. When they get together, both go into a period in their life where they’re trying to find themselves in this unconventional relationship.
The screenplay doesn’t carry a lot of plot schematics as it slowly builds this relationship that is very flawed since these are two very different people. Yet, they managed to connect on the fact that neither of them have any clue about themselves or what to do in their life. All Ali knows is to fight and be tough where he can take part in these illegal fights and risk his body. For him, it’s about proving that he’s the best and maybe use the money to help his sister and get his son for a few things. While he has good intentions, there’s a side of Ali that is very despicable where he’ll go out with a woman to have sex with her leaving Stephanie alone at a club or not be aware of the damage he’s doing in setting up cameras to get people fired. He’s essentially a man who is still a child of sorts with no real sense of direction and he’s not even sure why he’s with someone like Stephanie as she would question about why they’re having this relationship.
For Stephanie, she’s a woman who is truly lost as she doesn’t think people understand what she is going through or really care as she isn’t sure she wants to people to think of her as a freak. There’s one moment in the club scene after Ali leaves her for another woman where she’s drinking and a man buys her a drink. When he realizes what she is, he wants to offer sympathy but she wants none of it. She becomes more aware of who she is as she doesn’t want to be defined yet she knows that Ali is someone who needs to grow up and be responsible. Their relationship is quite complicated since neither really know what they want from each other yet the script doesn’t really bring any answers to that. In fact, it doesn’t really need any answers other than just two people needing to be connected by some strange circumstances.
Jacques Audiard’s direction is truly evocative for the way he creates a drama that doesn’t play to conventions despite the schematics it brings where some will accuse of it being manipulative. Yet, Audiard is aware of being manipulative but he does it in order to create key moments for the development of its lead characters. Particularly in scenes where Ali and Stephanie are together where Audiard just underplays the drama and let things just happen without any kind of schemes. Shot in various locations like Antibes, Cannes, Paris, parts of Northern France, Belgium, and Warsaw. It’s a film where Audiard places these individuals in a world where it’s very imperfect just like their lives. Sure, there’s beautiful beaches and some other fine places but it’s just as chaotic as the lives of Ali and Stephanie.
Audiard’s direction definitely employs a lot of hand-held cameras but it never becomes shaky in order to capture a lot of the drama that is happening as if he’s aiming for a cinema verite style. There are some stylistic shots such as some lingering images of water for Stephanie to reflect on what happened to her as there’s also startling images of men fighting in slow motion Audiard also creates some compositions that are truly hypnotic such as Stephanie’s return to the sea park she worked at where Audiard places the camera in a wide shot for Stephanie to connect with the whale. Audiard doesn’t employ a lot of close-ups as he knows where to keep the camera away including in some very intense moments of the film. He also knows when not to explain things by letting the images happen where he would create some very key moments in the drama. Overall, Audiard creates a truly captivating drama about human connection.
Cinematographer Stephane Fontaine does excellent work with the photography to capture the beauty that is the South of France but without any kind of a postcard look while employing more low-key lighting frame for some of the nighttime interiors to maintain a realistic look. Editor Juliette Welfling does brilliant work with the editing by utilizing lots of stylish cuts for the film including jump-cuts and fade-outs to help play out its structure and the action that occurs. Production designer Michel Barthelemy, along with set decorator Boris Piot and art director Yann Megard, does wonderful work with the look of Anna’s home as well as the more spacious apartment that Stephanie lives in for her new life.
Costume designer Virginie Martel does nice work with the costumes from the track suits that Ali wears to the more looser clothing that Stephanie wears. Visual effects supervisor Cedric Fayolle does terrific work with the film‘s minimal visual effects to display Stephanie without her legs. Sound editor Pascal Villard does superb work with the sound to capture the atmosphere of the club scenes as well as the more intimate moments between Ali and Stephanie.
The film’s music by Alexandre Desplat is amazing for its low-key yet ethereal orchestral score that also features some piano-driven music as well as moments to underplay the drama. Music supervisor Frederic Junqua creates a soundtrack that features all sorts of music ranging from club, pop, folk, and rock from artists as diverse as Bon Iver, Bruce Springsteen, the B-52s, White & Spirit, Lykke Li, and probably the most inspired use of Katy Perry’s Firework.
The casting by Richard Rousseau is great for the ensemble that is created as it features some notable small performances from Yannick Choirat as Stephanie’s boyfriend Simon, Mourad Frarema as Ali’s night guard co-worker Foued, Jean-Michel Correia as Ali’s brother-in-law Richard, Bouli Lanners as Ali's corrupt friend Martial, and Celine Sallette as Stephanie’s friend Louise. Corrine Maisero is excellent as Ali’s sister Anna who tries to deal with Ali’s immaturity and selfishness as well as the fact that he’s an irresponsible ass. Armand Verdure is wonderful as Ali’s son Sam who is just a five-year old who loves dogs and doesn’t really understand what kind of man his father is.
Matthias Schoenaerts is marvelous as the fearless yet directionless Ali who tries to find something that would give him a good life only to do terrible things that would impact people. It’s a role that is very complicated but Schoenaerts really manages to make Ali a man that is human and at times un-likeable but also engaging as he knows he’s very flawed. Finally, there’s Marion Cotillard in a towering performance as Stephanie as a woman lost and troubled by her accident where Cotillard displays a lot of life into this woman who could’ve been destroyed. It’s also a performance that just radiates in its silent moments but as well as its darker ones. The chemistry between Cotillard and Schoenaerts is intoxicating to watch for the way they depend on each other as well as understand that neither of them are perfect.
De rouille et do’s is a magnificent film from Jacques Audiard that features incredible performances from Marion Cotillard and Matthias Schoenaerts. It’s a film that definitely captures the power of the human spirit in all of its flaws while not being afraid to be sentimental. While it’s not an easy film to watch, it’s very engaging for the way it reveals how two people can connect despite having very little in common. In the end, De rouille et do’s is a phenomenal film from Jacques Audiard.
Jacques Audiard Films: (See How They Fall) - (A Self Made Hero) - (Sur mes levres) - (The Beat That My Heart Skipped) - A Prophet - (Dheepan) - (The Sister Brothers) - (Paris, 13th District) - Emilia Perez
© thevoid99 2012
