BOTH SIDES OF THE BLADE/FIRE/AVEC AMOUR ET ARCHENEMENT

France, 2022, 116 minutes, Colour.

Juliette Binoche, Vincent Lindon, Gregoire Colin, Bulle Ogier, Issa Perica, Lola Creton, Hind Darwich, Lilian Thuram.

Directed by Claire Denis.

The English title of this personal drama is certainly striking. And, it is the title of the song that is played throughout the end credits. However, there is a more basic English title which is seen on screen, Fire. And the question whether this does justice to the French title which indicates something of love and passion. And, further complication, the title of the original novel, Le Tournant de la Vie, focuses on “Turnings in life”.

This is certainly a film for older audiences. Claire Denis has been directing films for many decades, taking up themes from Africa as well as from Continental Europe and, in her last film, even going into space. And her star, Juliette Binoche, has featured in her recent films. And here she is joined by some of the veterans of French cinema, especially Vincent Lindon, but also Gregoire Colin and Bulle Ogier as Lindon’s mother.

It all opens lyrically, Sara and Jean swimming in the sea, in love, on holidays. It sets a tone, but we remember the title and there will be both sides of a deadly weapon, of a blade.

Juliette Binoche is always an interesting screen presence, here a radio presenter (and Claire Denis using actual guests, Hind Darwich and Lilian Thuram, to discuss identity issues, race issues and culture). And she is living with Jean, and audiences have longer admired Vincent Lindon. Jean has a past, business deals, prison sentence, and is now living with Sara who previously had been in a relationship with François (Gregoire Colin) who had partnered Jean in business.

There is a complication in Jean’s having a son, Marcus, who is cared for by Jean’s mother, 15, mixing badly, difficulties at school…

However, what emerges is a love triangle, Sara encountering François after many years, her previous love for him being kindled, yet her love and constant declarations to Jean and is relying on her love. François is possessive, sometimes callous. Jean is tense, emotionally fragile. And the question is where do audience sympathies lie? Jean goes into partnership with François again, working on a sports stadium, Sara sometimes coming to meetings and socials, encountering François once again.

And the question: who is honest, who is honourable, who is self-centred?

It is important to note the action taking place during the final credits and what our reactions are.

1. The variety of titles? The tone? Love, passion, violence? The original title, Le Tournant de la vie, Turnings in Life?
2. The Paris settings, apartments, business centres, radio studios? The town of Victory? Homes, streets, football stadiums? The musical score?
3. The opening, tranquil, Sarah and Jean, in the sea, love, the holiday? The bond between them? The return home? Settling at home? Jean and his background, phone calls from his mother, his concern about Marcus, Marcus as his son? His partnership with François? Is serving time in jail? The story of his first meeting Sara? Her leaving François for him? His leaving his wife? 10 years passing?
4. Sara, her personality, her story, the memories, relationship with François, leaving him, taking up with Jean, his leaving his wife, her concern about his son? Is mother?
5. Their ordinary lives, love, absent downs, moods?
6. Sara, the radio, the interviews, about issues and women, about white identity, the guests being real life celebrities? Her work with Alice at the studio?
7. The re-entry of François? Her seeing him, her murmuring, the memories of the past, her love for him?
8. Jean, the discussions with François, the business deal, the sports background, the memories of the past? Jean not telling François about Sara? The development of the deals, meetings, Jean absent, the sports issue, the stadium, Jean and his sports past?
9. Jean, driving to his mothers, wanting to see Marcus, Marcus and his problems at school, rebellion? Marcus refusing to see him? Later than meetings, discussions? Some reconciliation?
10. Sara, the effect of François, the meetings, the glances, memories of the past? François and his character, the past, with Jean, the 10 years? Staring of passion? The meetings, the sexual encounter and his brutality, her concurring? At the social, his kissing Sara, Jean watching?
11. The confrontation between Jean and Sara, about the kiss, the story of withdrawing, the audience having seen the opposite?
12. Jean, his rage, outburst against Sara, leaving? Yet his returning, being willing to live with her?
13. The two men, expressed love for each, a final decision, in the bath, not calling Jean back?
14. The final credits, under them in the shadow, Jean and the sport, and Marcus playing?