Rating: B-
Dir: Guillaume Campanacci, Vesper Egon
Star: Guillaume Campanacci, Vesper Egon, Nathan Dellemme, Alexandra Dellemme
This opens with a warning voice-over. “If you want to watch a romantic comedy, I’m sorry. If you want to be spoon-fed the plot because otherwise you wouldn’t understand the story, I’m sorry. If you’re dumb, I’m sorry. Finally, if you’re American, then I’m really sorry.” Yeah, this is that kind of film, and requires, uncompromisingly, you meet it on its terms. This is both intriguing and off-putting: I was curious as to what it was going to deliver, but also annoyed at being presented with what feels, in effect, like an ultimatum intended to get ahead of critical concerns. Don’t like this? Must be because you’re just a dumb American. [/smoking of unfiltered cigarettes intensifies]
It’s the story of two damaged individuals: Guillaume (Campanacci) and Vedrana (Egon), who find solace in each other. He’s coming off a suicide attempt, following the break-up of his last relationship, while she is still stuck in hers, unable to escape. They’re both kinda unpleasant individuals, attractive physically, yet abrasive and intolerant of other people. [At the party where he meets Vedrana, actor Guillaume deadpans to an annoying guest about currently working on a film with Robin Williams, Alan Rickman and River Phoenix] In other words, they’re perfect for each other. Their respective pasts, however, won’t let go of them so easily. In particular, Guillaume’s ex Jennifer shows up, announcing her pregnancy, and intent on getting back together with him.
Outside of the last, there’s not much narrative here. It’s more a series of postcards from the relationship between Guillaume and Vedrana, unfolding against the scenic backdrop of Southern France. The photography is gorgeous, and the music a mix of impressive French post-punk and classical tunes. The soundtrack mostly works, though a Rossini overture triggered Clockwork Orange flashbacks, and given the title, I kept expecting The Cure to show up. While neither G nor V are “likeable”, they’re interesting enough to spend time with. He probably didn’t need to cut his wrists to kill himself: the sheer amount of smoking and drinking (mostly vodka miniatures) would do it. Seriously, I’d forgotten how cigarettes are almost taboo in most films these days. This, in contrast, could be sponsored by Gauloises (top). I may have caught asthma off it.
Despite the lack of “story”, there’s an authenticity here which is engaging. It’s helped, I suspect, by most of Guillaume’s family apparently being played by genuine members of Campanacci’s family. So when they’re hanging out together, their family bullshit feels legit. Providing you’re satisfied with hanging out in the same room, in lieu of a plot, then this offers a rich vein of middle-class soap opera, with some interesting stylistic tricks. For example, the voices of both ex’s are never heard, their lines appearing only in subtitles. I can’t say I reached the end with any particularly startling revelations into the human condition. But much like the main characters, this just doesn’t care about appealing to everyone, and that deserves a certain amount of respect.