Une vie à t’attendre (2004) - film review

After the death of his mother, Alex gave up his career as an artist to take over the management of the family restaurant, which he runs with his friend Camille and his depressive brother Julien.  He is preparing to marry his girlfriend, Claire, when an ex-lover of his, Jeanne, suddenly appears on the scene.  Having lived for several years in Brazil, Jeanne has returned to France to visit her elderly mother.  Whilst she is looking for an apartment for herself, her husband and her son, she renews her affair with Alex.  The couple are holidaying in Tuscany when Alex learns that Claire is pregnant.  He realises that the time has come for him to make his choice: Jeanne or Claire?

This engaging romantic drama is the first full-length film to be directed by cinephile and journalist for “Studio Magazine” Thierry Klifa.  It’s a typically French love story, slow moving yet absorbing, unsentimental yet compassionate, reminiscent of the darker works of François Truffaut and Claude Sautet.   Sensitive, full-bodied performances from Nathalie Baye and Patrick Bruel give the film depth and intensity, particularly in its emotionally charged second half.  As a bonus, Baye shows that she has some talent as a singer (although she’d be well advised not to give up her day job).  Although she only appears in a few scenes, Danielle Darrieux very nearly steals the show; her character’s wry reflections on life are easily the most poignant moments in the film.

The script (by Christopher Thompson, son of the celebrated screenwriter Danièle Thompson) is generally well written, but the presence of so many, under-developed secondary characters is to be regretted.  The brittle relationship between Alex and his brother Julien merits a film in its own right, and yet characters like Camille and Claire have little to distinguish them.  Whilst perhaps too much is said about Alex and his background, there’s very little back story for Jeanne, and so her character feels strangely vague, like an unfinished portrait.  In spite of this, the film holds together rather well and is certainly a promising start for its director.

© James Travers 2006

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