A quiet study about friendship, family and shared histories, The Midwife is a subtle vehicle for two superb performances from Catherine Frot (Marguerite, The Page Turner) and Catherine Deneuve (Belle de jour, Indochina).
Frot is the midwife of the title, a lonely 50 year-old facing the closure of the clinic and her son moving out of home. And then, out-of-the-blue, she receives a phone call from the glamorous Beatrice Sobolevski, her father’s former mistress.
Nothing much happens over the next 120 minutes but we experience a rare chemistry as the uptight Frot comes to understand the motivations of the hard-drinking, heavy-smoking older woman suddenly abandoning her father more than 30 years previously.
Little remembered Loie Fuller, toast of fin de siecle Folies Bergere, finds herself dealing with a very ambitious young American dancer – Isadora Duncan.
Some of the choreography (lots of diaphanous fabric, mirrors, clever lighting and Vivaldi played loud) is showily spectacular, innovative for its time. But overall the episodic biopic is strangely unengaging with a lack of clarity of events creating a somewhat incoherent storyline.
Soko (Augustine, In the Beginning) toughs it out as Loie whilst Johnny Depp’s daughter, Lily-Rose Depp (Planetarium, Tusk) is suitably ethereal (with a streak of malicious ambition) as Isadora.
A charming documentary with multi-award winning Belgian director Agnes Varda (The Beaches of Agnes, The Gleaners and I) teaming up with photographer/muralist JR. A picaresque road trip ensues as filmmaker and stills maker create large scale works they plaster in public places in rural France.
A ruminative piece as the two form an unlikely friendship – she, the 88 year-old grande dame of the French New Wave; he, a cool and hip Parisian. And whilst ultimately lacking any depth, the art for art’s sake odyssey is witty, compassionate, warm and life-affirming.
Screened in the Melbourne International Film Festival.
A whimsical updating of the Grimm fairytale as the 100 year-old curse is about to expire in June 2000.
Travelling between the two time zones, director Adolfo Arrieta (Merlin, Flammes) appeals to the inner-child of his audience as Prince Egon (a cool Niels Schneider – Heartbeats, Dark Inclusion) travels in a helicopter with mobile phone to plant the kiss on the sleeping princess.
Problem is Belle Dormant is more whimsy than its attempted mischief and poetry. In spite of the presence of Schneider and (a wasted) Mathieu Almaric (Quantum of Silence, The Diving Bell and the Butterfly), the film flits through the storyline with little magic or sense of adventure.
Screened in the Melbourne International Film Festival.
With an immense physicality and a most extraordinary smile, Omar Sy (The Intouchables, Jurassic World) is one of the most expressive of actors. So he’s the perfect fit for Rafaela Padilla, the first black circus performer to conquer Belle Epoque Paris.
The rise and fall of Padilla as Monsieur Chocolat is told in a somewhat episodic, traditional biopic manner by director Roschdy Zem (Bad Faith, Omar Killed Me). Racism of the day along with gambling and drug abuse saw to his downfall but, along with Sy’s performance, the story itself is engaging.
A gentle and sensitive film from writer/director Mia Hansen-Love (The Father of My Children, Goodbye First Love) sees a deft, quietly powerful performance by Isabelle Huppert (Elle, The Piano Teacher) come to terms with loss.
An academic, Huppert loses her (demanding) mother, her publisher, a cheating husband and sees a close friend (and former student) move out of Paris. Yet Things to Come avoids easy sentiment or emotional grandstanding – her marriage dissolves, her mother is simply no longer there. It’s an elegant telling of, on the surface, a minor story that explores security and complacency, the dichotomy between self sufficiency and loneliness.
The latest from the prolific Francois Ozon (8 Women, Swimming Pool) is an elegiac narrative set in a small German town post World War I. A mysterious stranger places flowers on the grave of Frantz Hoffmeister, a young German soldier killed in battle.
Filmed in a mix of colour and black and white, Ozon’s film is a story of truths and non-truths, of similarities and opposites, of nationalism and love as Frantz’s fiancee, Anna (a quietly expressive Paula Beer – The Dark Valley, Ludwig II), comes to understand the stranger – a shy, nervous French soldier, Pierre Niney (Yves Saint Laurent, Just Like Brothers).
Based on Ernst Lubitsch’s 1932 feature Broken Lullaby starring Lionel Barrymore and Phillips Holmes and itself based the stage play The Man I Killed by Maurice Rostand.
A spate of pregnancies in a post-war Polish convent, the result of Russian liberation from the German army, leads to the questioning of faith by many of the nuns. The arrival of the French Red Cross in the form of Mathilde Beaulieu (Lou de Laage – Breathe, Jappeloup) brings matters to a head.
Based on a true story, this authentic, quietly dignified telling, shot in the limited palette of a Polish winter, focuses primarily on the evolving friendship between Mathilde and Sister Maria (Agate Buzek – Redemption, The Reverse).
But the film, directed by Anne Fontaine (Coco Before Chanel, Gemma Bovary), would have been the stronger without the ‘three months later’ ending.
As a spiritual medium, Maureen (Kristen Stewart – Twilight, Clouds of Sils Maria) refuses to leave Paris until her recently deceased twin brother gives her a sign. To help pay the rent, she takes on the role of personal shopper for high-profile super model, Kyra. Maureen finds herself embroiled in a little more than trips to Chanel and Cartier.
The latest from Olvier Assayas (Clouds of Sils Maria, Something in the Air) is measured yet something of a mess, unsure of where to position itself. Ghost story? Kitchen-sink drama (albeit in the fashion houses of Paris)? Rites of passage? Thriller? All take precedence at certain stages of the proceedings – ensuring Personal Shopper never gets boring but is far from satisfying.
Slight but engaging on many levels, Rosalie Blum is the directorial debut of screenwriter Julien Rappeneau.
Adapted from the French graphic novels, it is ostensibly the story of loneliness as hairdresser Vincent Machot (a hound-dog Kyan Khojandi – All Three of Us, Chinese Puzzle) becomes so obsessed with Rosalie Blum (the charismatic Noemie Lvovsky – Camille Rewinds, Farewell My Queen) he starts to follow her. But Rosalie is on to him – and arranges for her niece, Aude, to follow him.
Told from three different points of view, Rosalie Blum is a combination of mystery, drama, tragedy and romantic comedy. Each perspective reveals a little more of the storyline, sometimes obvious, sometimes unexpected.