Only my second feature by Ruiz, as much as I’m always talking about the guy – and it’s kinda what I’d expected. Good movie with some weird craziness in the plot, but at the same time, it’s a French film, a classy drama about restrained rich people.
Camille’s dad is out of town – his mom (Isabelle Huppert, the year before The Piano Teacher), uncle Serge (Charles Berling of Summer Hours) and maid Helene are taking care of him until one day he announces that his real name is Paul and he wants to go home to his real mom. He guides Huppert to another woman’s apartment – she’s not home but creepy neighbor Edith Scob (also Summer Hours) shows them around.
When beautiful Jeanne Balibar (the Duchess of Langeais herself) gets home, she tells Huppert about her son Paul who drowned two years ago, but also acts as if Camille is her Paul in the present tense. There’s no sense of paradox or surprise, nothing unusual, just these facts: Paul died and Paul is here. It’s not the kind of thing that could be done in an American movie without some character shrieking “how can that be? how can you say he died if you’re saying he is here in front of you?!” Huppert plays it cool though – invites Balibar to stay at her house so they can figure it out together.
In the climax, Balibar kidnaps Camille/Paul and takes him to the barge where Paul had drowned. Huppert shows up and Balibar surrenders and apologizes, everything back to normal.
Ruiz uses a Sam Raimi anamorphic-lens-twisting effect:
Is it pertinent that the maid might be having an affair with the uncle? That Balibar is after the uncle as well? That Huppert’s grandmother died of sorrow because of some incest incident? That Balibar’s neighbor Edith Scob is just as creepy and mysterious as Balibar herself? That a family acquaintance dies in a car crash near the end? That Camille has a businesslike 10-year-old friend who everyone had assumed was imaginary? All combines into an overall sense of mystery about identity, parentage, relationships, and what can be known.
I thought I’d heard of Denis Podalydès who played Isabelle Huppert’s husband, but it’s actually his brother Bruno I’d heard of.
Unnerving, noticeable music by loyal Chilean Jorge Arriagada and not extremely impressive cinematography by Jacques Bouquin (The Film To Come, Life is a Dream) – he does that thing where the camera is always gliding slowly past the action an awful lot. Overall I dug the movie… looking forward to Ruiz’s other 99 features.