Doble vida

As a fan of European films with an intellectual spark and some witty humor, I was expecting to enjoy this. Despite a slow start, I kept hoping for an eventual improvement, but the film just dragged on and on, repeating the same idea in many different settings, to the point of exhaustion, for 108 tedious minutes.

While there were a couple of funny moments, they were too few and far apart. As far as the story went, there was not much beyond the initial concept. As a character-driven film, I found most characters to be flat and unrelatable, particularly the protagonist and his romantic interests. The minor development at the end felt forced and out of place.

Since I saw this at the Toronto Film Festival, a Q&A followed at the end. Unlike other public screenings that I've attended so far, most questions this time came from people in the film industry, who themselves mentioned that they could probably better relate to the book publishing industry, thus this film, than most. Since I'm not of the industry nor a French speaker, I could only hope that some of its charm lost in translation.

Interesting and entertaining. The English title is "Non-Fiction", but the original French title "Doubles Vies" (Double Lives) is more descriptive. The theme centers around writing and publication in the internet age, with provocative snippets of bracing conversation, some hilarious deadpan humor, and sexual infidelity as a metaphor for how writing cheats reality, all perfectly framed by the French language and the Gallic temperament. (Needs to be seen in the original French, with subtitles if necessary.) You could describe it as a fast-talking intellectual comedy, but it's one of those movies that can be as deep as you want to make it. I plan to rent it so I can stop/replay some of the dialogue. The director, Olivier Assayas, is a master of layered meanings.

I have, of late, become quite a fan of the films of Olivier Assayas, though I was put off this, his last to show in London, by some very iffy reviews. It is, however, fine. I enjoyed it and if there is not much story to relate there is pleasure enough, for me anyway, listening to the various conversations. Conversations about the writing and reading of books and each others wives. The French title is Doubles Vies which translates directly as Double Lives and is perfect, so much so that it amazes me that it was ever changed for the US/UK market. Surprisingly devoid of politics, which is a surprise considering some of the director's previous films. The only real reference is to a disgraced would be leader and comments made suggesting people go into politics to satisfy their own ego rather than to effect change and perhaps this is Assayas' justified snide political comment.

Greetings again from the darkness. Kids today (shake your head while saying it). No one reads anymore, and when they do, it's only e-books and blogs. Such is the ongoing discussion throughout this latest from writer-director Olivier Assayas (PERSONAL SHOPPER 2016, CLOUDS OF SILS MARIA 2015). Lest you think the debate between traditional hardback books and digital literature takes up the full run time, you should know that such serious discussion is wrapped in a more traditional French sex farce ... and a quite entertaining one at that.

Guillaume Canet (the excellent TELL NO ONE, 2006) stars as publisher Alain Danielson. He has a lunch meeting with his client and friend, author Leonard Spiegel (a very funny Vincent Macaigne) where he declines to publish Leonard's latest manuscript. Alain claims it's too easy to identify the real people mentioned in the story, despite the name changes. Leonard says it's "auto-fiction", meaning his writing takes inspiration from his life. One of the ongoing gags (no pun intended) revolves around an inappropriate act in the theatre during a screening of Michael Haneke's WHITE RIBBON - or was it during STAR WARS: THE FORCE AWAKENS? Such is Leonard's sly way of disguising his characters and life.

Juliette Binoche co-stars as Alain's wife Selena, and Ms. Binoche takes full advantage of one of the few films where she can flash her comedic chops. Nora Hamzawi plays Valerie, Leonard's wife, and she is delightful as the spouse who refuses to build up Leonard's ego or provide any boost whatsoever to his confidence. Instead she spends a great deal of time reminding him of what his critics are saying. The final piece to this puzzle is Christa Theret, who plays the Head of Digital Transformation for Alain's publishing house, and is the constant instigator in the push towards digital.

Quintessentially French may be the best description for the film and these characters. At the dinner party, the conversation is stimulating and intellectual, while in their personal lives, it seems everyone is sleeping with someone else. Most every character worries about infidelities, while it's a part of their own life. Even Twitter is treated as "very French" in that it consists of '4 very witty lines'. Clever lines are spoken frequently, especially from Leonard who says he writes "feel-bad books" rather than the usual "feel good" ones. And Alain refers to Leonard's last book as "a worst seller".

Fewer readers, books vs digital, and the popularity of blogs all play into the generational debate of change/progress vs traditional ways. Whether books and libraries are a relic of the past is certainly a viable topic, but the comedy-infused relationships keep the film from ever feeling too heavy. Ms. Binoche has a recurring bit where her TV role is misidentified as a cop, and she (in character) plays along with what may be the first ever Juliette Binoche on screen joke.

Filmmaker Assayas previously tackled art appreciation, or the lack thereof in modern times, with his 2008 film SUMMER HOURS. This time he turns his attention to literature and we can't help but notice some similarities to the works of Woody Allen and Eric Rohmer with the vibrant dialogue and awkward relationships. The French title translates to "Double Lives" which is not only a better title, but also a more descriptive one. However, by the time the 'Martian Martian' song plays over the final credits, you will likely feel entertained ... in a mostly French manner.

An easy going movie, with nothing special, nothing to be attracted, just for a good time in a summer cinema