Riseéa Seydoux is the star of this year’s Cannes Film Festival.French woman starred in three movies in official show main character, In the fourth part, Wes Anderson’s “French Express” (FAZ from July 13), an important supporting role. Therefore, the main character cannot guarantee the best position in the eyes of the camera. When things got worse, the heroine also became a target.
In Arnaud Desplechin’s film “Tromperie” (deception), which is part of the “Cannes Film Festival Premiere” series, Léa Seydoux plays the writer’s British lover Philip RoseIn his 1990 novel of the same name, Rose transformed the love phase that began and ended during his long stay in London into a series of bed conversations, from the first sexual act to the last kiss. Desplechin, as he said, also made his movie in response to the restrictions during the first corona blockade, and he believes in this intimate game situation. But not exactly. Not only did he let his character, the elderly writer, talk to the young woman in a cold marriage, but he also showed how they met on the street. He asked the writer to quarrel with his cheating wife in the bedroom; he sent him to New York, where he met an ex-wife with cancer and a former student. Attached is an epilogue with the reconciled lovers in the printed book. But the movie still hasn’t moved.
Tears like decorations
In “Tromperie”, the film is different from literature, and the fact that it is unable to look directly at its characters retaliates. It must give them something to do in order for them to show themselves. Desplechin’s efforts to conceal this shortcoming made it more obvious. Even a tabletop conversation in New York is still a tabletop conversation. Maybe this movie should be limited to Ross’s carefully choreographed ballet. But he obviously lacks the courage to do so.
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But Léa Seydoux is a pleasing feast in “Tropelli”: her elegance, her casual, her almost childlike beauty. Except in her main role, she is not the protagonist in the story. She is still exposed to the gaze of the writer (Denis Podalydès), and the camera doubles it. Apart from this incident, almost no one understands her life. Sometimes tears would flow down her cheeks. In the movie theater, this always indicates that something important is happening. Here it is like an ornament.
Passion is trapped in clothing
Seydoux’s character in Ildikó Enyedi’s entry “A feleségem története” (My Wife’s Story) may be a pair of lovers in “Tromperie”. She was the wife of a captain, and the captain married her effortlessly because he needed a companion on land. After a while, the captain wondered if Lizzy was deceiving him. What else, someone would like to ask the other way around, because even if Jakob Störr (Gijs Naber) is not at sea, it looks as interesting as a cotton freighter. But because this movie also examines his female history through the eyes of a man, the infidelity of the sailor’s wife seems to be an unforgivable weakness in character. She broke the brave sturgeon’s heart, even if it was not him but her that died in the end.
“A feleségem története” is adapted from a novel published by Hungarian writer Milán Füst in 1942. The book “touches the meaning of life in a very direct way,” her film adaptation director explained, but anyone who wants to understand this sentence in the picture is fascinated by Ildikó Enyedi. “My Wife’s Story” is more reminiscent of those co-productions funded by too many partners, which were called European puddings in the old century. The film jumps from Menorca to Paris and then to Hamburg. With every change of location, the marriage relationship between Mr. and Mrs. Stoll loses control of the ground. The passion evoked here still stays in the clothing, because like Arnaud Desplechin, it has no contact with the outside world.
But Léa Seydoux is still waiting for her victory. Maybe it will play the role of a war correspondent in Bruno Dumont’s film “France”, which will be screened at the film festival tomorrow. Or in Cannes next year.
