Our trip to the cinema to see this French film with the incomparable Isabelle Huppert started off with a bit of drama: as the room went dark and the opening credits rolled in, Mum and I realised we were in a wrong cinema and instead were watching a British war film, which explained the trailer for Dunkirk. Oops. We hurried across into the right theatre and luckily our session hasn’t started yet.
The film itself was in a way an anti-drama; we are so conditioned to constant dramatic developments and turns in the movies that it’s almost disorienting to watch something that’s actually much closer to real life. In a different film, a character suddenly bursting into tears would generally be followed by some shocking confession or revelation, but here it’s just a random burst from a new mother whose emotions run high after the birth and which doesn’t necessarily suggest a shift in the narrative.
Not to say that there wasn’t any drama period – Huppert plays Nathalie, a Parisian philosophy professor, who in the course of the film loses things and people most important in her life. The most devastating loss comes when her husband of 25 years, another philosophy teacher and fellow lover of books, leaves her for another woman. Not that Nathalie lets any of these losses unravel her – even though she doesn’t go through anywhere as much trauma as Huppert’s memorable character in Elle from last year, the two women respond to their misfortunes with a similar lack of self-pity. In the case of fiercely intellectual Nathalie, she leans on the tenets of philosophy to get her through hard times.
Huppert is brilliant and luminous, the gorgeous and serene shots of Paris and French countryside are francophile’s manna, and the movie is best seen as a collection of slice-of-life observations, rather than something that builds up to anything major. This is not How A Mature Philosophy Professor Got Her Groove Back, despite the presence of a younger man, Nathalie’s former student and now a fellow philosopher, who invites her to spend time at the commune-like rural house he shares with his anti-establishment friends. The film tantalises you with possibilities that their relationship might take a sexual turn, but like everything else this doesn’t play like your regular movie drama. In fact the most dramatic thing in the film might be Nathalie’s mother’s fickle black cat.