Displaying items by tag: Noemie Merlant

A GOOD MAN

France/Belgium, 2020, 107 minutes, Colour.

Noemie Merlant, Soko, Vincent Dedienne, Anne Loiret.

Directed by Marie-Castille Mention-Schaar.

For audiences seeing the film without any pre-knowledge there will be some surprises, even shocks, challenges. The title itself has some ambiguities.

The audience is introduced to Ben, working with a partner, visiting the sick, helping in the hospital. He is young, seen diving and swimming, athletic and energetic. He has been in partnership with his girlfriend, Aude, for six years, moving from the city of Aix to a small island off the coast. An ordinary enough scenario.

In an extended flashback, the audience is introduced to Aude, a dancer, encountering a sullen young woman at the dance, Sarah. Sarah declares she is not lesbian. The two women bond. And then the realisation that Ben is transgender, in the process of transition. This is a tour de force performance from Noemie Merlant, Portrait of a Lady on Fire, Tar, sullen and depressed Sarah, for obsessed as Ben.

The key issue of the film is the desire on the part of Ben and Aude to have a family. Aude is unable to have children, there have been several attempts and miscarriages. The decision for Ben, still capable of conception, is to carry and give birth to the child. Visits to gynaecologists, legal issues, a document declaring Ben as male and the mother/parent of the child. And the sadness for Aude, legally she has to adopt the child. At first, she is very happy, a pleasing scene where she shops for toys for the baby. But, discussions with a fellow dancer, feeling sidelined, she leaves.

There are significant scenes throughout the film on the issue of a man and pregnancy, discussions with his brother, alienation from his mother, Ben in hospital after an accident, she visits and there is some kind of communication. Then there is the disbelieving clash with the co-worker who feels betrayed in learning who Ben really is.

There is a birth scene, very moving in its way, and Ben holding the new born child,.

There is an understated ending, a long take of a large group of parents and children playing on a Park hillside and, gradually, Ben and Aude and the baby walking past the camera, leaving audiences to put together the issues and the emotions.

Many favourable reviews of the film but quite strident attack on a transgender site. The screenplay does not explain a lot of detail – relying very much on audience response to the characters, the situations, and testing out their own understandings and emotions.

1. The title? The levels of meaning as regards Ben, his life, career, relationships?
2. The French island setting, the small town, homes, visiting the sick, doctor’s rooms, hospital? The scenes in Aix and the parties? The outdoors, the coast, the beach? The musical score?
3. The transgender theme, not introduced immediately, establishing Ben as a man, at work, with Aude? Audience realisation, adapting to this understanding? The response throughout the film, those appreciating Ben, his close workmate and his feeling that he was lied to, bewildered? Ben’s mother and her memories of Sarah growing up? This film in the light of 21^st-century in 2020s discussions of transitioning, acceptance, political condemnations?
4. Ben, athletic, swimming, visiting the old man and his tender care, the conversations with the woman and her ill husband? This work at the hospital, working with his colleague, the bonds? Ben and his relationship with Aude, six years, the partnership, the love, each with a great desire to have a child?
5. The flashback to the dance, Aude, by herself, a dancer, watching her boyfriend, meeting with Sarah, sullen, reticent, declaring she is not a lesbian, the kiss, the return to the apartment?
6. The return to the present, the audience looking more closely at Ben, male presentation, fitness, beard, moustache, voice…? Starting the transition process, testosterone? His not telling people, the reasons? The consequences?
7. The discussions with his brother, his brother’s family, his brother supporting him? The discussions about his mother, scenes between them?
8. The episode of the attack on Aude, her running, the fight, the accident, Ben in hospital, his mother’s visit, her paying the bills? Her explaining the difficult relationship as Sarah grew up, not responding to her mother, no breastfeeding, alone? Her mother’s bewilderment, wanting her daughter to confide in?
9. The decision about the baby, Ben still having the uterus and ability to conceive? The visits to the doctors, the process? The beginning of the pregnancy, development? The issue of the legality, the reception of the document from the judge, his male identity, yet his being able to be listed as mother of the child? The effect on Aude, the legal requirement for her to adopt the baby?
10. The talk with his coworker, more than surprised, the reaction, feeling lied to, hurt, leaving? But his later relenting, helping in transporting them to the hospital?
11. The effect on Aude the scene of buying the baby clothes and sharing with the shop assistant? Sometimes edge with Ben? Her beginning to feel sidelined? The discussion with the dancer, her past, the possibilities, her deciding to go away?
12. Ben, alone, the development of the pregnancy, walking? The doctor’s advice, a connection with a midwife? Hospital, the birth sequences, the baby emerging, holding the baby, his mother’s presence, cutting the cord? Ben and his happiness?
13. The final sequence, the long glimpse of the group of children playing, the joy, families, and Ben and Aude finally emerging with the baby, walking past the camera, leaving it to the audience to appreciate?

UNE ANNEE DIFFICILE/A DIFFICULT YEAR

France, 2023, 120 minutes, Colour.

Pio Marmai, Jonathan Cohen, Noemie Merlant,  Mathieu Amalric.

Directed by Olivier Nakache, Eric Toledano..

Audiences seeing the name of the writers-directors, Olivier Nakache, Eric Toledano, might have had high hopes, remembering their very popular film, The Inseparables, with Omar Sy and François Cluzet, the invalid and his minder, and the Omar Sy vehicle, Samba. There they showed quite an insight into human nature as well as a humorous tone.

There is some insight into human nature in this film and some humour, but not in the engaging way of their previous films.

There are two central characters, many on hard times, Albert (Pio Marmai) who works at an airport, sleeping rough there, scrounging for a living, and Bruno (Jonathan Cohen) also finding difficulty after his separation from his wife and family. On the humorous side, they find various ways in which to eke out some kind of survival, food and drink, shelter.

But, the focus of the film and the difficult year is that they encounter a protest group, led by Noemi Merlant, who is appearing in a great number of films in the 2020s, French and international. Her name is Cactus. She takes a shine to Albert and he to her – but the main thing that the two men find in attending the meetings to discuss the protests and a range tactics and manoeuvres, is that they get free meal and drink.

There are scenes of protest, contemporary climate causes, and an elaborate sequence where Albert and Bruno impersonate banking executives during the bank protest, get into their documents to manipulate their financial situation, then disguise themselves as workmen…

This is a French film so there is not an easy romantic ending. The scenario and the treatment may appeal strongly to a French sensibility – perhaps less so to those outside France.

1. Title, the initial collage of prime ministers repeating the phrase? Setting the tone? Serious, humorous, sardonic?
2. French cities, the streets and demonstrations, centres for meetings, airports, shops, banks…? Atmosphere? The musical score, songs?
3. The story of Albert and Bruno? The backgrounds, age, hard times, their friendship, mutual help? Albert the airport, stealing the contraband, selling it, financial support? Sleeping at the airport? Bruno, family, separation, his uncertainties, suicidal thoughts?
4. The relationship between the two, mutual support, the encounter with the protest group, welcoming, free meals and drink, their opportunism? The effect on them?
5. The protesters, the cause, serious, comic, the touch of satire, the meetings, the arguments, designing protests, carrying them out?
6. Cactus, her leadership, strength of mind, the interactions with Albert, the attraction? Her being a motivation for them to continue the meetings, to protest?
7. Albert and Bruno in the protest, their disguises, getting into the bank, getting the documents, altering the documents, pretending to be workers, on the balcony, the success?
8. Their unmasking, the discovery of the fraud? Unmasked with the group, with Cactus, her response?
9. Henri, his advice, the sessions, his mantras, the effect on them? His own difficulties, going to the casino, the various arguments, his gambling habit, his being ejected, disguises? Yet the seriousness of his working with Albert and Bruno?
10. Albert, the furniture, Bruno helping, carrying, selling on the black market, Cactus discovering the truth? The consequences?
11. How seriously was the audience meant to take the protesters, their cause, the behaviour? In comparison with the satiric story of Albert and Bruno?

LEE

UK/US, 2024, 117 minutes, Colour.

Kate Winslet, Andy Samberg, Alexander Skarsgaard, Marion Cotillard, Andrea Riseborough, Noemi Merlant, Josh O'Connor, James Murray.

Directed by Ellen Kuras.

A film about a significant war corresponded, World War II. Lee was released at the time of the first anniversary of the Hamas attack on Israel, October 2023, world audiences seeing a year of invasion, bombings, destruction, Israel’s invasion revenge, the deaths of so many Palestinians followed by the bombings and invasion of Lebanon. Audiences worldwide depend on war correspondents and war photographers for these images and information.   2023-2024, more than 200 wounded and dying on the job.

Lee is Lee Miller, a one-time model, turned photographer, an American who spent a lot of time pre-World War II in France and travelling, developing her talents as a photographer, links with artists and French society. She is played by Kate Winslet, reminding us that for almost 30 years Kate Winslet has been a significant screen presence in film and television, multi-award-winning. As expected, this is a very strong and persuasive performance.

The film opens with some war action, Lee Miller, explosions, after the D-Day invasion. But, after showing her with her friends in France, the film moves to 1977, the older Lee Miller being interviewed by a young man, Josh O’Connor, about her war experiences, their examining a lot of the photo she took leading to flashbacks building up  e herxperiences during the war years, and the device for returning to 1977 for some kind of break and, with some of the war experiences, some breathing space and relief for the audience.

Lee Miller went to London at the beginning of the war with artist Roland Penrose (Alexander Skarsgaatd). She offered her services for Vogue magazine, under the editorship of Audrey Withers (Andrea Riseborough). She was able to visit some camps, photograph service men and women, link up with David Scherman of Life Magazine (a surprisingly serious performance from comedian Andy Sandberg). The British would not employ her but, as an American, she worked with the American military, in action in San Malo, entering Paris when it was liberated, some harrowing sequences as she sought out her prewar friend and discovered their occupation experiences, also discovering the disappearance of so many thousands, especially Jews.

The most harrowing part of the film is when she and David travel from France through Western Europe to the German border, an experience of Hitler’s hideout (and the serious/comic episode with Hitler’s bath), and, most tellingly, the concentration camps, the trains with corpses, the prisoners in their pyjama-striped uniforms, Lee continually photographing, and especially the sadness, the pathos of the faces of the women and children who suffered.

There is an explanation of the interview sequences at the end, information about Lee Miller, the re-discovery of her photos in the 1970s, book, photo publication – and, as usual now in such films, many of the actual photos shown during the final credits along with the episodes from the film.

Important for memories of World War II. Important for the 21^st-century, the number of wars, the war correspondent, their courage, sharing the up-close details of their experiences, dangers, deaths.

1. Lee Miller? As a person, as a photographer, as a war photographer?
2. The portrait by Kate Winslet, a long career, portraying variety of personalities? Awards? Embodying Lee Miller in the 1930s, in the 1940s and the war experience, the retrospective of 1977?
3. Audience knowledge of Lee Miller, her work during the war, British Vogue not publishing her photos, American Vogue publishing them? After the war, the opinion in Britain that people should not be too disturbed? Her photos and memories in the attic? Her son finding them, writing the book, publication?
4. The opening of the film, the war sequence in France, the dangers, the rescue? The sequence repeated later? Indication for the war correspondent?
5. 1977, Lee being interviewed, audiences realising it was her son or not? The interaction between the two, the questions for Lee, his looking at the photos, the impact of the revelations for him? Her finally asking him questions, his growing up, her distance, that she was not a successful mother, memories of his father, the discovery of the photos, the impact on him? The final glimpse, looking out the window, turning, and her not being there? Information about her death?
6. The 1977 sequences as a framework for the flashbacks? And as some relief for the audience immersed in the war experiences, the interview sequences as moments for a breather and relief?
7. Lee, a model, her career, her French friends, in France, on the coast, the holidays together, Lee taking local photos, atmosphere of the 30s, freedom of expression, comfortable nudity? The discussions about Hitler, but not expecting his victory? The situation for France? For Britain? The company, Picasso and the artists? Atmosphere?
8. Roland arriving, the initial interaction, painter, paint on his hands? Her analysis of his character? His analysis of hers? Up the steps from the beach? His invitation to come to London, the war, the blitz, the interview with Audrey at Vogue, the irritating presence of Cecil Beaton? Roland and his work, conscientious objector, camouflage? His moving away to location? Her signing up, photography, at the camp, the women’s quarters, the officer? Women being excluded? Her going into the briefing, disguise, the Colonel and his reaction? Eventually transferring her to France?
9. Work at Vogue, the photos, the support of Audrey? The role of the magazine during the war? Lee and her contacts with Audrey during the war, the comfort of England compared with the war front, especially in liberated Paris, the discovery about the disappearing Jews, her friends, Solange disappearing, Lee finding her again and their talk? The emergence of Paul and his wife, Jews in hiding? The plane flying over and his poem been distributed? Emotional impact for Lee? Trying to communicate this to Audrey?
10. The encounter with David, Life Magazine, his mirror shining the light on the women workers? Friendship, their bonding, in England, his access, her limitations, friendship with Roland, inviting him to stay at the house? His reminder that she was an American, the British refusing permissions, her getting American permissions? Their going to occupied France, the battle sequence and the dangers? The discovering the realities, the people in poverty, the young woman and her romance with a German, the hostilities of the locals, the later sequence of the women, the shaving of the heads?
11. The various photos from France, the medical centres, the wounded, the doctors, the GI with his face masked in the photo?
12. To liberated Paris, driving through, the exhilaration, the photos? Roland and his visit, wanting her to go back to London? His not appreciating what she had experienced?
13. The bonding with David, the vehicle, driving through Western Europe, to the German border, Hitler’s house, their bribing their way in with cigarettes, the letter, the bath, the photo in the bath with Hitler’s picture? David and his wariness? His eventual weeping?
14. The horror of the concentration camps, the arrival, the smell, the soldiers, the train, the carriage with dead decaying bodies, the bodies laid out, concentration camp clothes? The waiting with the cart with the bread? Lee following the woman, the group of women and children, the bread, the nervous little girl, photographed?
15. London, the magazine, please photos not there, her angry confrontation of Audrey, her coming down, Audrey sending the photos to get Vogue America?
16. 1977, Antony and his looking at the photos, the discussions with his mother, the impact of the war experience? The aftermath, his work with his father, the book, publication? His father’s death? The setting up of the foundation?
17. The final credits, the actual photos, the information about Lee and her death, Roland, Antony?
18. The film released in September/October 2024 at the time of the one-year anniversary of the Hamas atrocity in Israel, Israel’s response in Gaza?

BABY RUBY

US, 2022, 93 minutes, Colour.

Noemie Merlant, Kit Harrington, Jayne Atkinson, Reed Birney.

Directed by Bess Wohl.

Baby Ruby sounds very nice as a title for a film. However, this is a serious film, touches of anxiety, depression, psychosis.

While the setting is the United States, the leading actors come from outside the US, Noemi Merlant is French and this is referred to, while Kit Harrington, famous for Game of Thrones) is British. He is a butcher in a small American town. She is pregnant, an Influencer with her posts and articles online, with quite a following, especially in the town. At the opening of the film, she is preparing a baby shower for herself and the child to be born.

Response to the film will depend on perspectives and experience. There is the male experience, the experience of fathers. There is the female experience, of pregnancy, giving birth, of post-partum anxiety.

After the birth, Jo finds the continued crying of the baby most stressful. However, over the time, tending the baby, feeding it, getting exasperated, going to the doctor who reassures them that there is nothing wrong with the baby, she becomes more and more depressed, more anxious, some quite erratic behaviour, even sexually, with a neighbour, her husband puzzled, her seeing suspicious aspects everywhere, and the presence and comments from her mother-in-law.

The mother has some hallucinations – and some wondering whether the whole film is something of a hallucination.

The film is a portrait of a mother becoming more and more desperate, a nice husband and his inability to help, a mother-in-law his who is both interfering and supportive.

1. The title, a film about mothers and babies, pregnancy, expectations, birth, post-partum anxieties, psychosis?
2. The American town, ordinary, the butcher, the influence and her friends, testing, doctors, ordinary life, sinister aspects of ordinary life? The musical score?
3. The focus on Jo, French background, in the US, married to Spencer, online, her posts, influence, admired? Spencer, ordinary, the butcher, love for his wife? His mother and her presence, dominating, helpful, critical?
4. The pregnancy, the preparation for the Baby shower, the women arriving, the happy situation? The beginnings of Jo and her apprehensions? The birth?
5. The consequences for Jo, love for the baby, calling her Ruby? Spencer and his devotion? The friends wanting posts about the baby, Jo not putting them online?
6. Audience identification with Jo, women’s perspective, man’s perspective, mothers, fathers, grandparents? Empathy with Jo and her tensions? And the baby crying?
7. The effect on Jo, the continued crying, her anxieties, depression, behaviour? Yet her love for the baby, the books, the visit to the doctor, nothing wrong with the baby, his seeming criticism, her reading, thinking that the baby was trying to communicate with her?
8. The consequences at home, Spencer and his devotion, trying to help, at work? The baby crying, the nights, during the day, outings? Time passing?
9. Doris, her presence, her comments, criticisms, support? Her story about Spencer as a baby and the difficulties?
10. The ominous aspects, the memory of the woman approaching Jo at the store, not allowing her to remove the cover to disturb the baby? Her being part of the group? The later encounter is, in the street?
11. Jo, more anxious, wanting to go out, the party, her drinking, the sexual encounter, as a dream or reality, the aftermath and the woman explaining the experience? Sinister suggestions and suspicions, the meat from the butchers…?
12. The cumulative effect on Jo, medication, institution, becoming calm, coming home again, the baby crying, the baby giving a message?
13. The buildup to the ending, ominous, and the tension for the audience, whatever their experience of babies, for anxiety for mother and child?

JUMBO

France/Belgium, 2020, 93 minutes, Colour.

Noemie Merland, Emmanuelle Bercot, Bastien Bouillon, Sam Louwyck.

Directed by Zoe Wittock.

An arresting title for an unusual film. Audiences generally associate Jumbo with elephants. This time, not exactly.

This is very much a women’s film, female writer-director, focus on female characters and their issues. While there are some male characters, they are not at the centre.

However, at the centre, is a young woman, Jeanne, living with her mother, who serves in a bar, and flirts with all and sundry. But she does bond strongly with her daughter. Jeanne is scoffed at by some of the young men of the town.

Jeanne goes to work at a theme park which is about to close down for the season, doing all kinds of cleaning and maintenance jobs. She becomes absorbed with the giant wheel that is core to the park, attracted to it, its size, its power, cleaning the various knobs and polishing them, seeing the lights come on. The giant wheel is called Jumbo. And she becomes more and more preoccupied.

For those coming upon Jumbo without any background, surprised, taken aback, discovering that Jeanne falls in love with Jumbo, the screenplay elaborating the language of love, visits, embraces, spending more and more time, the erotic aspects. The screenplay also focuses on the response of her mother, the manager of the fair, a young man the mother wants to set up with Jeanne, the attempts, his being rejected. The other male character in the film is a customer at the bar, a wanderer, who takes up with the mother, he is the one who has the most sympathy and understanding for Jeanne.

There are not many films about obsessions like this, many audiences being puzzled, fascinated, wondering about Jeanne and her emotions, her mental health, the consequences of the passion of love for Jumbo.