The director features a remarkable Charlotte Gainsbourg in the role of a lost mother and left alone with two adolescents.
by
Few filmmakers give the impression, like Mikhaël Hers, to be in search of sweetness, without shame or cutery, without needing to justify it either. The world takes care of it. In counterpoint to his brutality and his cruelty, always lurking at the door of his films, the director continues to turn around on the lost paradise, trying to repair the injuries, to relentlessly dewer a cocoon, to look for a place, a place, a place, a place, a place, a place, Formula, a mode of relationship, in which people, to change, could finally manage to do a little good.
Survival – be the constitutive state of our always injured presence in the world – is the modus operandi of its characters. A bunch of western Parisian thirties hesitating to tear out their youth and their friends (Memory Lane, 2010). Characters who recompose the map of friendships and love after the sudden death of one of their loved ones in full youth (this feeling of summer, 2015). An attack in the Bois de Vincennes leaves survivors and bereaved families prey to their ghosts, in duty, as well, to continue life without them (Amanda, 2018).
The edgy, the aggressive, the guards are therefore asked to go their way. Mikhaël Hers is the filmmaker in the films of which the spectator, harassed by this constant war of all against all that becomes the contemporary world, likes to surrender. It is at least an hour and a half to win on adversity. It’s not nothing. Vog in the bewitching impressionism of this work. Retain time with her. Explore the city as we would do with an inner landscape. Let the dead float which, undecided, accompany us. Getting the idea that something, always, lacks, whose name you would never know. SAUDADE.
LIMIARY CATASSER
Let us enter, now, in these sweet passengers of the night. Here, as often, a introductory disaster. Without specific name. Without a face. Something that suddenly breaks, an abyssal lack against which we will suddenly have to arm. Courage, patience, dignity, hope. A break, therefore. Elisabeth (Charlotte Gainsbourg, in one of her best roles), left alone with two adolescents, lost, injured, but forced to have to get up.
Elisabeth finds, a little miraculously, a job at the Maison de la Radio, in a night program hosted by Vanda Dorval (Emmanuelle Béart). It completes with a job as a librarian, the day. At home, children grow up. Judith, the elder, takes off, Mathias, the youngest, written from poetry and knows his first emotions. A pretty brunette, Talulah, fugueuse and intranquille, attractive and dangerous, is hosted by the small family. Mathias is not insensitive to it. But Talulah belongs to the night. The three young people will see the nights of the full moon, of Eric Rohmer, vibrating in tune with their youth.
You have 49.37% of this article to read. The continuation is reserved for subscribers.