Пассажиры ночи (Les passagers de la nuit)

[empathy]

[основной конкурс

берлинского фестиваля]

Год 2022

Страна Франция

Жанр драма

Время 01:51

Премьера 13 февраля 2022, Берлин

Режиссура Микаэль Херс

Сценарий Мод Амлин · Микаэль Херс · Мариетт Десерт

Камера Себастьен Бухманн

Музыка Антон Санко

Монтаж Марион Моннье

В ролях

Шарлотта Генсбур · Эммануэль Беар

Ноэ Абита · Офелия Колб

Описание

Париж, 1981. Элизабет только что оставил муж, и ей приходится заботиться о повседневной жизни двух своих подростков,

Матиаса и Жюдит. Она находит работу в ночном радиошоу, где знакомится с Талулой, праздной молодой девушкой,

которую берет под свое крыло.Талула открывает для себя тепло дома, а Матиас — возможность первой любви.

Элизабет находит свой путь, возможно, впервые. Все любят друг друга, борются... их жизнь началась заново?

Изменено 15.02.2022 09:21 пользователем empathy

[Green_FOX]

Генсбур в последнее время в шлаке снимается, по крайней мере мне только такое с ней попадалось. Беар сто лет не видел. Возможно и гляну дома под пельмени.

[empathy]

playlist: a-

The structures that consume Elisabeth are framed expertly by cinematographer Sebastien Buchmann. A closet is made cocoon, the warmth of dimmed lights bristling against the mirror, where the image of the woman reflects the physical vestiges of the past — what was once denouement beautifully turned preface. Grainy, ethereal 8mm footage of Paris intertwines with the sharpness of urban architecture, bridges, and laybys rigorously unmoving as the people pass them by are in constant metamorphosis. A body plunges into a river; the freezing wetness demands heat, a fire is lit, a kiss is shared, someone departs without saying goodbye.

Here, people are passengers in the night, but the night is also a passenger in itself, working tirelessly to create the all-engulfing vastness of darkness just to gracefully bow to light once more and then do it all again. This cycle, predictable in its essence, is persistently made new by twilight, an encounter of two opposites denied the privilege of companionship, eternally doomed to brief meetings.

“Some films, you only like them way later, or when you see them again,” ponders Talulah as memories of a recent watch unexpectedly flood her mind. In “The Passengers of the Night,” the same can be said of life itself, moments going by half-noticed to later return enveloped in the warmth of nostalgia, made even more precious by its unattainability. What is gone shall never return; no two nights are the same.

thr

While the director’s stylistic flourishes can feel distracting, this is a lovely minor-key character study that at its best reminded me of the Paul Mazursky classic, An Unmarried Woman. At heart, the story, co-written by Hers, Maud Ameline and Mariette Desert, is about the mending of two broken souls, each of them gradually finding their feet as free spirits, without the crutches of conventional marriage on one hand and drugs on the other.

Talulah, whose hard, punky look and industrial strength makeup initially make her appear to have wandered in from Betty Blue. But the character, and Abita’s tough-but-fragile performance, are actually a direct homage to Pascale Ogier, who earned fame in films by Eric Rohmer and Jacques Rivette and died tragically in 1984, the night before her 26th birthday. Rohmer’s Full Moon in Paris, in which Ogier starred to great acclaim, is cited here, and a brief clip is seen from Rivette’s Le Pont du Nord, which she co-wrote and starred in with her mother, Bulle Ogier. (Grainy video inserts of archive material from the era also include shots from the Claire Denis TV documentary, Jacques Rivette, le veilleur.)

guardian: 3/5

Like Hers’s previous film Amanda, this is a calm, sympathetic drama about family in which the dramatic wattage level is set relatively low. Even when extravagantly tense things are happening – Elisabeth’s son falls into the Seine and Talulah jumps in to save him – things are determinedly kept under control. The point, as with Amanda, is healing: things coming together and working out and pain being smoothed away. Elisabeth realises how sad she is at her “empty nest” situation as the kids move out, especially as she has to sell her nest and move to a smaller one. But group hugs help salve the pain and there is something sweet-natured in the film’s positive attitude to life.

 

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