the newest movie by Catherine Breillat broadcast this night on Canal+ divides the editorial workers | EUROtoday

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Lhe movie by Catherine Breillat launched in theaters in September 2023, introduced on the Cannes Film Festival in May, arrives this night on Canal+. This fifteenth function movie by the filmmaker promised to be as sulphurous because the earlier ones, with the story of a lawyer (Léa Drucker), married and mom of two little ladies, apparently completely happy, launched into a love affair along with her beau -son (Samuel Kircher) aged 17. The alternative for Catherine Breillat to take care of topics that stay pricey to her, need and transgression. But must you watch the movie this night on Canal+? When writing the Point, opinions are divided.

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Against: a bourgeois drama shot-shot

The pitch could be very easy: what occurs when a fifty-year-old is seduced by her 17-year-old stepson? Are we going to see a brand new model of die from love or Heart murmur ? No means. Announced on the final Cannes Film Festival as a sulphurous, disturbing movie, Last summer time by Catherine Breillat didn’t set off controversy, apart from some good evaluations from her followers and yawns from others.

Ten years after Abuse of weak point about her poisonous relationship with the criminal Christophe Rocancourt, the 75-year-old filmmaker has created a traditional drama, a remake of a Danish movie by no means launched in France. It is about need, adolescence, transgression and intercourse, a well-known space that the director has not completed exploring since 36 little woman And Romance, with Rocco Siffredi.

In a couple of scenes, the scene is about: a bourgeois home by which Anne (Léa Drucker), a lawyer specializing within the protection of minor victims of abuse, lives, her husband, Pierre (Olivier Rabourdin), a businessman who is usually absent , and their two adopted daughters (Serena Hu and Angela Chen). All that's lacking is the disruptive aspect to launch the plot: Théo (Samuel Kircher, revealed in The High School Student by Christophe Honoré), a rebellious teenager born from Pierre's first marriage.

With his false airs of Tadzio Died in Venice, he rapidly sows hassle amongst his mother-in-law who’s bored and drinks loads of white wine. All it takes is a scooter trip and some beers to succumb to its appeal. The relaxation permits Catherine Breillat to movie them as carefully as attainable within the love scenes, lengthy, repetitive, scrutinizing along with her digital camera the dizziness of a girl who abandons herself to responsible pleasure, her physique in a trance, her head thrown again, eyes closed.

This try to research the inexplicable in photographs is just a little perplexing, particularly because the manufacturing could be very shot-to-shot and the dialogues are sometimes flat. In different phrases, we glance in useless for suspense within the not very new equation of Post coitum, unhappy animal when, in a croquignolesque scene, Léa Drucker recounts juicy episodes from her childhood to her husband who violently upsets her.

Likewise, we glance in useless for scandal, true or false, on this love at first sight between this girl and this teenager which fits past good and evil. But ward off morality, it comes again at a gallop and finally ends up with the decide. Instead of unusual, Catherine Breillat serves up a bourgeois drama that doesn’t go off the overwhelmed monitor of adultery, banal, traditional. Lacking a stable plot and credible twists and turns, Last summer time patina. In the style, we want Claude Chabrol, mocking critic of the failings of the bourgeoisie and the couple.

What stays is the portrait of a fragile, manipulative girl who discovers her personal monstrosity in relation to saving her life, her relationship, her profession, her little consolation. Léa Drucker lives as much as her character. She wears Last summer time and units the tempo for the movie, which is not any small feat.

For: a drama that disturbs and fascinates

From the primary scene of Last summer time, filmed in tight photographs, Anne (Léa Drucker), a lawyer specializing within the protection of adolescent victims of violence, leads the abrupt, chilly, devoid of any empathy interrogation of a younger woman who struggles to carry again her tears. However, as quickly as she escapes from her workplace, Anne is a cheerful, completely happy girl, not less than in look, who devotes all her free time to her husband (Olivier Rabourdin, touching) and her two little daughters. Until Théo (Samuel Kircher), her husband's son, arrives within the enormous household house, a considerably misplaced 17-year-old teenager within the midst of rise up.

Catherine Breillat takes the time to determine the nice and cozy, comfy and bourgeois local weather by which these uneventful characters bathe. Even slashing with a penknife within the luminous tranquility of their summer time. Because Anne will get to know Théo, this “enemy” who entered her house like a burglar, till he succumbed to his clumsy confidence, his appeal, his gentleness, and ended up in his teenage mattress.

The filmmaker then devotes herself to what she is aware of how to take action nicely: filming need, bare our bodies, sighs, feverish caresses. No frills. Without judgement. But these emotions that the filmmaker and her heroine refuse to place into phrases change into more and more heavy as these round Anne open their eyes to this story.

The movie will regularly rework right into a darkish, uneasy thriller, definitively abandoning the bourgeois drama that the primary scenes of the movie had outlined. No Chabrol right here, maybe extra Brisseau. Catherine Breillat takes maintain of a taboo, creates discomfort, twists the face of her feminine character and permits Léa Drucker (nominated for a César for greatest actress) to play a very totally different register within the second a part of the movie. A register by which, masterfully, like a Hitchcockian blonde heroine, she sees herself because the bearer of a horrible lie. Immoral and uncontrollable.