Film Review
The fragility and resilience of the human spirit form a mystifying
dichotomy that predominates in the oeuvre of Benoît
Jacquot. Whether it be adolescent angst, mid-life crisis or the
turmoil that erupts through some other emotional turning point, the
propensity that human beings have for self-destruction and self-renewal
has exerted an enduring fascination over this auteur filmmaker and
achieve its fullest expression in his latest film.
Villa Amalia is Jacquot's most
lyrical and enigmatic film to date, one that carves out, with delicacy
and a subtle irony, the trajectory of a middle-aged woman who is
impelled to reinvent herself after a moment of intense personal
crisis. With minimal dialogue, the film relies on the camera to
tell the story, which it does with sublime charm and
efficacy.
Whilst the film is masterfully orchestrated, its impact would not be
nearly as great without the beguiling presence of Isabelle Huppert,
France's leading screen actress who just seems to get better with every
film she makes. This is Huppert's fifth and most successful
collaboration with Jacquot, a director with whom, judging by the
results, she appears to have the perfect symbiotic
relationship. It is evident from the way the camera clings
to Huppert, like an affectionate bear cub following its mother, that
Jacquot worships Huppert; she, in return, can only offer the best of
herself. The understated genius of the former's
mise-en-scène is matched by the nuanced, irresistibly hypnotic
performance of the latter. Huppert belongs to a rare breed of
actor who has an innate ability to convey inner emotional turbulence
without ever appearing to act. The feelings of the characters she
portrays are picked up by the spectator, empathically received, with
virtually no visual cues. Here, in a role that appears to have
been created especially for her, Huppert works her magic with
consummate ease and leaves you in no doubt that she is still the best
thing in French cinema today.
With a captivating central performance from Huppert (supplemented by
impressive supporting contributions from Jean-Hugues Anglade and Maya
Sansa),
Villa Amalia is an
exquisitely crafted study of a complex woman in search of a new
identity and a new direction in her life. The film is loosely
adapted from the well-known novel of the same title by Pascal Quignard (who also
penned
Tous
les matins du monde, which was brought to the screen within a
year of its publication by Alain Corneau). With the
confidence, artistry and sensitivity of a fully fledged
cinéaste of the first rank, Benoît Jacquot composes an alluring visual
symphony of extraordinary power, a film that both enchants and elates
with its humanity and raw poetry.
© James Travers 2010
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Next Benoît Jacquot film:
Au fond des bois (2010)
Film Synopsis
Ann Hidewitz is so shocked when she sees her husband kiss another woman that her
whole world collapses in an instant. Abandoning her career as a
world class musician, she disposes of everything she possesses and embarks
on a long journey across Europe. She finally ends up at an
isolated villa on the island of Ischia in Italy.
Here, Ann acquires a mania for swimming out as far from the shore as
she can. One day, she swims too far and loses
consciousness. She is pulled from the sea by Giulia, a
local woman who brings meaning and sanity back into her life.
© James Travers
The above content is owned by filmsdefrance.com and must not be copied.