Claire Denis Does Hong Sang-soo?

Un beau soleil intérieur (2017) - Denis

I think Claire Denis has been hanging out with Hong Sang-soo a little too much because I never expected her to do a wordy romantic comedy! And the result is delightful! It boasts the best rolling end credit of any movie ever.

Let the Sun Shine In concerns middle aged divorcée painter Isabelle (radiant Juliette Binoche). The film starts with her having sex with her regular lover, Vincent (Xavier Beauvois), a portly, pompous banker with terrible bedside manner. Some off-handed comment he says makes her cry. In fact, our disheveled heroine cries a lot, out of loneliness, in bed at night alone. Vincent is a married man and constantly says he won't ever leave his wife and family. He just want to bang her regularly is all.

Then there is a brooding stage actor (Nicolas Duvauchelle) Isabelle hits up on at the bar. They are about to work professionally together. But she is very anxious to know if he's interested in her as much as she is in him. But he rambles on about his acting, his identity whatev, finishing what seems to be his 15th beer. After hilarious and super awkward exchange in the car, Isabelle pretty much passive-aggressively makes him to 'come up for coffee' and stay the night. The next day, she is super happy about what happened but he's not. He's full of regret.

Then there is François (Laurent Grévill), Isabelle's ex, whom she has a 10 year old daughter with. She constantly regrets that she left him. He sometimes comes over and they screw. But they say some hurtful things to each other. They go their separate ways unhappy.

Always on the verge of tears, she confesses to her friend that she is deathly afraid that she'd pass the age to meet the love of her life, that she'd live the rest of her life alone and die alone. Easily swayed by other's opinions, whoever she meets, she asks for advice and second guess herself if she's doing the right thing.

Frustrated with her current relationship arrangement, Isabelle takes a trip to the countryside with her art circle acquaintances where they are invited to a little art festival. While taking a walk with the group, their pompousity and forced social niceties become too much for her and she blows up on everyone. Yet she finds herself in the arms of a soulful country bumpkin on the dance floor. Would that fling last?

We've all been there. The relationship is a fickle business and there are no easy answers. As you grow older, the need for companionship grows. Loneliness is a terrible thing. In a rom-com setting, Isabelle embodies a middle aged woman in the city dealing with these issues perfectly. With co-writer Christine Angot, Denis wrote a very funny script and created a very funny character that is unlike anything she created previously. The only comparable film she made would be Friday Night (2002). But that was a mood piece more than anything else with little dialog.

Since it's shot by the great Agnes Godard, Let the Sun Shine In is filled with gorgeous close-ups. As the arresting images unfold with jazzy soundtrack (by Stuart Staples of Tindersticks), you are safely in Denis territory. And the familiar faces show up - Alex Descas plays one of Isabelle's lover to be (there is a lot of potential), Valeria Bruni Tedeschi briefly shows up too.

The biggest suprise, figuratively and literally, is the appearance of Gerard Depardieu as a fortune teller who's motives are suspect. His long, meandering exchange with Isabelle got hearty laugh from me.

After a couple of very dark films (White Material and Bastards), Denis is trying something different. Let the Sun Shine In feels much looser and lighter than her other films but it still retains all of her visual language and style. With her announced English Sci-fi project with Robert Pattison, I welcome this change. Someone please give this woman a best director prize already!

Let the Sun Shine In plays as part of NYFF 2017 at Film Society of Lincoln Center on 10/7 and 10/8. Please visit FSLC website for tickets and more information.

Nocturnal Creatures

J'ai pas sommeil (1994) - Denis







So fluid and graceful. Denis's penchant for sketching out knitty-gritty lives of Parisians, both long time residents and newcomers are present in J'ai pas sommeil. It involves two storylines, slightly brushing each other. One introduces a young Lithuanian girl, Daiga (Katerina Golubeva) in her Soviet made car driving up to Paris all the way from Vilnius. Penniless and with very limited French, Daiga bums around her distant relatives and ends up living in a crummy hotel run by good-hearted Ninon. The other story is of Camille (Richard Courcet), a gay performer, and his partner are involved in series of robbery and murder of old ladies throughout the city. Theo (Alex Descas), Camille's brother, having decided that Paris is not a place for him and his little son, is planning to go back to Martinique and that doesn't bode well with Mona (Béatrice Dalle), the son's mother.

Unlike Wenders and Jarmusch (both of whom Denis worked as an Assistant Director for) fish-out-of-water stories, I find Denis's sensibilities more modern and cosmopolitan. Her portrayal of human desire and yearning lensed by great Agnes Godard has no real parallel. The cinematography in this is so effortlessly cool without ever being flashy. And this is why I always have a hard time taking a screengrab from her films.

J'ai pas sommeil also features alluring Katherina Golubeva. Obviously the camera loves her. Her beauty is overwhelming in every frame she's in.

I have to reassess my Denis priorities here. I do love her later, more visceral, post Beau travail stuff. But nothing really beats her earlier films. J'ai pas sommeil reaffirms that she is one of the greatest filmmakers working today.

Unabashedly Noir

Bastards (2013) - Denis

It's raining. Hard. The camera descend alongside the wall of a building glistening in water outside. The man in the building seems distressed. Then we cut to a naked, teenage girl (Lola Créton) walking down a wet street. She seems to be in trance. Then it's Marco (Vincent Lindon), a sea captain coming in to the harbor. This is how the film starts. With moody music by Tindersticks, I'm instantly hooked.

Denis goes all out noir on Bastards, a brooding, nocturnal thriller where innocents get punished and good men go die. With star studded cast - the mix of her regulars (Alex Descas, Vincent Lindon, Gregoire Collin, Michel Subor) and new to her clan (Chiarra Mastroianni, Lola Créton), Denis creates a film experience so seductive and mysterious which I haven't had since maybe Mulholland Dr. Its pulpy premise and fuzzy the ending didn't really bother me. I hear this was Denis' first foray into digital filmmaking, but with Agnes Godard at the DP helm, the images are just as mesmerizing as her previous films. Bastards played as part of NYFF. It will get theatrical releases in October 23rd here in New York and available elsewhere in theaters, VOD and digital on 25th. Don't miss it.

Here is Tangerine Dream inspired, mesmerizing soundtrack by Stuart Staples:

Life's Rich Pageant

35 rhums (2008) - Denis






A family drama so understated yet deeply affecting, 35 rhums showcases Claire Denis's versatility as a filmmaker. It presents the life of an extended Parisian family consists of long-time neighbors in the same building. They are Lionel (Alex Descas), a stoic metro conductor and his daughter, Jo (Mati Diop), a college student, Gabrielle (Nicole Dogue), a cab driver and a one time lover of Lionel who still has feeling for and Noe (Grégoire Colin), a loner who lives up in the penthouse & has been a best friend/love interest of Jo since their childhood.

Times are changing. Lionel's buddy Réne, kills himself after retirement from his longtime metro job. Jo is getting too old to be a daddy's girl anymore. Noe is selling the house and leaving the country because his 17-year old cat just died and nothing in Paris is holding him back(?). Denis weighs each characters equally and the cast is marvelous. Each small gesture, each unspoken moment has profound resonance.

But the film's largely about Lionel and Jo. It's perhaps the tenderest father-daughter relationship I've seen on screen. As they embark on a short road trip to visit the grave of Jo's mother in Germany, they know that they are spending time together like that for the last time and we know this too, even though no words are ever uttered between the two about it.

Said to be an homage to Ozu, 35 rhums comfortably slips in to the universality of human conditions. Paper lanterns in Germany, rice cookers in an African household in France are completely in harmony with their surroundings. It's a beautiful film. I might have to try Vendredi Soir again.