Reviewed on 31-JAN-26
Marianne: “I haven’t seen her smile.”
Sophie: “Have you tried to be funny?”
A small moment that best exemplifications a detached and non-self-aware pursuit of making sure the people around us appear happy. The entire film is a remarkably concise portrait of the sometimes impossible-to-imagine and often difficult-to-communicate idea of true love. Occasionally circumstantial and often spurred by our proximity, the pursuit of human connection and understanding between an aristocrat and painter seems to suppress responsibility and the underlying inequality. A female-gazed and less outrageous Barry Lyndon, with beautiful cinematography capturing lifelike performances lifted from an original script. The slow burn of love and loss is what ignites these young women. A clear vote for choosing to remember over regretting, with lots to take away and hopefully revisit.
“When you’re observing me, who do you think I’m observing?” – Héloïse
Marianne: “I haven’t seen her smile.”
Sophie: “Have you tried to be funny?”
A small moment that best exemplifications a detached and non-self-aware pursuit of making sure the people around us appear happy. The entire film is a remarkably concise portrait of the sometimes impossible-to-imagine and often difficult-to-communicate idea of true love. Occasionally circumstantial and often spurred by our proximity, the pursuit of human connection and understanding between an aristocrat and painter seems to suppress responsibility and the underlying inequality. A female-gazed and less outrageous Barry Lyndon, with beautiful cinematography capturing lifelike performances lifted from an original script. The slow burn of love and loss is what ignites these young women. A clear vote for choosing to remember over regretting, with lots to take away and hopefully revisit.
“When you’re observing me, who do you think I’m observing?” – Héloïse