Metacritic-Rezensionen

Gainsbourg is riveting in her portrayal of the intricacy of this pattern, her hands grasping for the tangibility of doorframes when words seem far too futile, her back arching and contracting to respond to ecstasy and sorrow.

The film’s greatest achievement is the measured and elegant gaze on a woman in the prime of life, often referred to as middle age, whose desires (both sexual and professional) are neither diminished nor pathologized.

The film spans several years in her life and that of her family, covering moments both important and relatively inconsequential. It’s a credit to Hers’ contemplative, never intrusive observational style that by the end of the two-hour running time we know them intimately.

The warm performance by the ageless Ms. Gainsbourg and the soulfulness of the two younger leads (Judith is a subordinate figure of little importance) make for an absorbing two hours.

Allowing us to luxuriate within the languid pacing of this slice-of-life story is actually refreshing during these big, noisy summer days.

In its unassuming, intuitive way, the film is rather beguiling, if a little gauzy and elusive at times.

An airy, low-key drama that doesn’t suffer for its lack of narrative tension, The Passengers of the Night further proves the old adage about the journey mattering more the destination.

The argument, these days, is that too many films are about sensation. Big action movies, superhero movies, movies that deliver a lot of adrenaline and thrills but really don’t ask much of the viewer. With his latest film The Passengers of the Night, French director Mikhaël Hers goes in the opposite direction, making a movie that resists manipulation and drama.

This is a film that doesn’t set out to push your emotional buttons all that hard, or even at all. But it covers a surprising amount of narrative ground and there is always something engaging and tender to it.

It’s an inviting, paradigmatic story of female self-discovery and empowerment, so it’s too bad that the movie’s hold on you proves far less firm than Gainsbourg’s.