Better than Creepy, this is K.K. in arthouse French festival mode.
Stéphane (Olivier Gourmet of all the Dardenne movies) is an eccentric whose giant glass plate photographs are only still in demand by a few connoisseurs, so he spends most of his time in the basement photographing his daughter Marie (Constance Rousseau of Simon Killer) in uncomfortable poses for increasingly long exposures, trying to capture the ineffable. He hires Jean (Tahar Rahim, main dude in A Prophet) as a new assistant, which may have been a bad move – don’t hire someone who’s gonna covertly call an auction house to appraise all your belongings.
For the most part, the film follows Jean as he falls for Marie, who wants to move away from the lonely basement photo sessions and start her own life working at a botanical garden. Jean is a bit of a scam artist, and helps her out by scheming to coerce her dad into selling his estate, for which Jean will get a commission that they can live on together. But the schemes don’t totally make sense, and time goes by and things get weird. It’s not a tight Chabrolian thriller, but something more diffuse. Eventually Marie appears to have died in two separate incidents (a stairs tumble, a car crash), but she still appears real to Jean, and Stéphane’s long-dead wife reappears as a Pulse-referencing slow-motion spirit.
Originally titled Le secret de la chambre noire, I watched this right after Creepy. Since Before We Vanish, K.K. has already released its extended semi-remake Foreboding. The others I missed since Tokyo Sonata include Real (Inception-y romance), Seventh Code (an hourlong paranoid thriller), and Penance (a murder-guilt anthology miniseries).