Film ReviewsIn the Shadow of Women
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In the Shadow of Women (L'Ombre des femmes original title) is the latest film by the French director Philippe Garrel who at the age of 67 is a living vinculum between contemporary auteurs and the French New Wave era. Garrel's long career includes writing and directing dozens of films dating back to the mid-1960s, when he made his first film at the tender age of 16. Garrel has often credited directors like Jean-Luc Godard and François Truffaut as formative influences in his career. Like Godard and Truffaut, Garrel often creates works that explore the every day human condition and the emotional dynamics that unfurl in relationships. For as much as Garrel has reached to the New Wave era for style and texture, down to the use of black-and-white film, he is the product of a different generation, and his work can't escape the influences of his own creative time-Europe and the US from the '70s and '80s and up to the present. His directorial style is not devoid of Warholian influences, down to his personal involvement with Nico, the German singer and Warhol superstar who formed part of the Velvet Underground at the insistence of Andy himself. Viewers familiar with Garrel's work may likely expect that the lens through which Garrel views the world is of a particular white, European, male focus, so the content of In the Shadow of Women is nothing new-and that's the problem with this Franco-Swiss production.
In the Shadow of Women is one of Garrel's weakest works. The film, like others from Garrel's, is about a man, a woman and another woman; but unlike Garrel's more successful works, like Jealousy, In the Shadow of Women feels dated, as if it is grasping to be relevant in world that the director perhaps no longer inhabits-this is after all 2016, and women look askance at sexual double standards. Jealousy was made in 2013, so it's not much older than In the Shadow of Women, but is by far a richer, more poetic and beautiful film that stars Garrel's son, Louis Garrel, as an actor who has left his wife and daughter to pursue a new relationship. In the course of reinventing his love life, the main character has to contend with the green-eyed monster that creeps in little by little. In Jealousy, Garrel's (son) character is able to bring viewers along because he can summon a quiet vulnerability, not to mention that his rich, messy, black hair and deep set eyes can make viewers weak in the knees.
In the Shadow of Women stars Clotilde Courau as Manon, the wife of Pierre (Stanislas Merhar) a documentary filmmaker. Pierre has a sour disposition; he's a Debbie-Downer of sorts, who feels entitled to his wife's unconditional support in most aspects of life. Pierre is self-absorbed and aloof, so it's easy to mistake his taciturn detachment with talent. It becomes very clear to viewers that it is Manon who drives the bulk of Pierre's projects. While loitering outside film archives, Pierre meets Elisabeth, played by Lena Paugam and they immediately fall into an illicit affair. The interesting part about In the Shadow of Women is what happens next, because Pierre is blindsided by Manon's own pursuit of happiness. Courau, a seasoned and beautiful actress, is a joy to watch as she (Manon) more than makes up for Pierre's foggy presence. When Pierre discovers Manon's own infidelity his ego loses its footing and he goes flying into rants, ravings, and immature behavior toward both women, which is annoying at best. Pierre is in serious need of a time-out so viewers can have a respite from the tantrums of his bruised ego. To the disappointment of viewers, and the chagrin of the director, In the Shadow of Women comes full circle-all that drama, for this?
In the Shadow of Women shows at Bear Tooth on Mon., Jan. 18 at 8 p.m.
In the Shadow of Women is one of Garrel's weakest works. The film, like others from Garrel's, is about a man, a woman and another woman; but unlike Garrel's more successful works, like Jealousy, In the Shadow of Women feels dated, as if it is grasping to be relevant in world that the director perhaps no longer inhabits-this is after all 2016, and women look askance at sexual double standards. Jealousy was made in 2013, so it's not much older than In the Shadow of Women, but is by far a richer, more poetic and beautiful film that stars Garrel's son, Louis Garrel, as an actor who has left his wife and daughter to pursue a new relationship. In the course of reinventing his love life, the main character has to contend with the green-eyed monster that creeps in little by little. In Jealousy, Garrel's (son) character is able to bring viewers along because he can summon a quiet vulnerability, not to mention that his rich, messy, black hair and deep set eyes can make viewers weak in the knees.
In the Shadow of Women stars Clotilde Courau as Manon, the wife of Pierre (Stanislas Merhar) a documentary filmmaker. Pierre has a sour disposition; he's a Debbie-Downer of sorts, who feels entitled to his wife's unconditional support in most aspects of life. Pierre is self-absorbed and aloof, so it's easy to mistake his taciturn detachment with talent. It becomes very clear to viewers that it is Manon who drives the bulk of Pierre's projects. While loitering outside film archives, Pierre meets Elisabeth, played by Lena Paugam and they immediately fall into an illicit affair. The interesting part about In the Shadow of Women is what happens next, because Pierre is blindsided by Manon's own pursuit of happiness. Courau, a seasoned and beautiful actress, is a joy to watch as she (Manon) more than makes up for Pierre's foggy presence. When Pierre discovers Manon's own infidelity his ego loses its footing and he goes flying into rants, ravings, and immature behavior toward both women, which is annoying at best. Pierre is in serious need of a time-out so viewers can have a respite from the tantrums of his bruised ego. To the disappointment of viewers, and the chagrin of the director, In the Shadow of Women comes full circle-all that drama, for this?
In the Shadow of Women shows at Bear Tooth on Mon., Jan. 18 at 8 p.m.