Brief Crossing

Why is it in the twilight of cinema only the French can produce masterpieces? This is the first Catherine Breillat movie that I've seen. I'll be on the lookout for them from now on. This ranks with the masterpieces of the French cinema. It is Truffaut (youthful innocence), Godard(ballet of camera movement with independent activities in foreground and background and Blier (absurdity, realism and sex) all rolled together. This is the human spirit revealed. It is erotic, at least it is a study in erotic passion, but it is as far from pornography as film gets. Sarah Pratt's acting is superb. I hope she won a caesar for this.

I love this film! Brève traversée [Brief Crossing] was part of the Brisbane International Film Festival, I saw 23 films and this was by far my favourite! The story focused around a young (16) boy and a 30 something woman on a ferry. The two meet in the lunch line and for lack of anywhere else to sit, they sit together. A conversation starts up that lasts them hours and away we go. The film follows their discussions & then sexual relationship. Its kind of a Before Sunrise meets The Graduate. I just loved their discussions and the glances the two share - the 2 actors are sensational, they make the film work. One quote I recall (which I rather like) said by the woman 'Alice' talking about how pointless life can be: "The irony is in order to make a living you have to spend time!" ......5 stars!

After watching "Romance" and "The Anatomy of Hell", I felt like I had reason enough to believe, Catherine Breillat prioritizes sex and depressing visuals so much, the subtle things she tries to prove take backseat. But after watching Brief Crossing, my conception underwent a drastic polarity shift.

Thomas is a 16 year old seemingly typical French boy. Alice is probably British, and is around 30. Looks like she had a lot of dimensions to her that she lost from a years long slow heartbreak. Thomas thinks the usual social institutions like boyfriend-girlfriend relationships can't inhibit the French from satisfying their carnal needs any longer. Seems like he does not readily realize the gravity of what he says.

Sometimes, when a child is born in a battlefield and brought up in the neighbourhood, he looks at wars with the eyes of an innocent. He sees deaths, but does not realize what it is that seems so obvious like the sun and the moon. One day, a bullet hits him and the next moment, he is not innocent any more. Brief crossing is one such crossing. Crossing from sight to comprehension. Crossing from ideas of pain to pain itself. Crossing from Innocence to Awareness.

Brief Crossing, like a few others of its kind like "The Man from Earth" or "Broken English", depends solely on a few people's expressions. Not even an extra penny has been spent on refining anything that is not totally essential to help the movie reach its end. Of course it's not for everyone to watch. But those who like it once, will not forget it ere long.

Not recommended for general viewers or cinegoers. Highly recommended for "those" few.

Have you ever thought about why you suspend disbelief for some films and not others? Or for some chat-up lines and not others? What about if it's someone you really fancy?

Half way through Brief Crossing, Alice says, "Men put you in a box and you go into it just like a goose cos you think there's nothing more beautiful than love." She and Thomas are seducing each other but there is always a resistance. For Alice, it is Thomas' lack of confidence, clumsiness and inexperience (he is sixteen going on eighteen). For Thomas, it is the inbuilt ability of any woman to say no in order to say yes. Alice, railing against men and educating Thomas at the same time, explains it: "It's exciting to disconnect them and see how they return the attack." But if Brief Crossing is a complex and intellectually fertile examination of emotion and truth-telling in the areas of romance and seduction, it is also one of Breillat's most accessible works. It is one of the few that can be enjoyed as a brief, sexy, and entirely believable romance. The quasi-philosophical banter becomes background noise. We wait, like voyeurs, for the mutual cat-and-mouse to play itself towards a passionate conclusion.

They meet on an overnight sea crossing from France to Portsmouth. Share a table in a crowded diner. She fixes him with her gaze until he stops fumbling with his food, a cigarette, anything. Eventually he has to return it or risk losing her. And we know he is attracted to her - though too shy to know what to do. While Thomas drinks only cola, she fortifies herself with several brandies. Her attentions slowly give him confidence, the 'cool' that she desires of him.

But give him too much and his confidence becomes arrogance. She has to push him away again, make him chase her. Push too far, and he will leave, humiliated.

How to make that brief meeting of minds? A union that is long enough, mutually wanted enough, for something exciting to happen? He takes her life and death references literally. She points out that she is only trying to get him to be romantic. Choosing to accept where someone else is coming from, their truth, their reality, is no more than a convenient shorthand. An arrangement from where we can proceed on common ground. An act of good faith.

Sarah Pratt (who will work with Breillat again several years later in Une Vieille Maîtresse), gives a finely nuanced performance as Alice. Especially when the ending throws new light on her whole story. But Gilles Guillain, as the young Thomas, is cringingly realistic as the hot-blooded and woefully inexperienced young lover. Volleyed between embarrassment and lust, hormones raging up a steep learning curve, it is a state that many male viewers will feel ashamed to recall.

Breillat has frequently proclaimed that she only makes films about women since, being a woman, that is all she knows about. Yet in addition to the (sometimes scathing) examination of the female psyche, she is expert in how the male gaze is experienced by the woman, and adept at extracting realistic performances from young male actors (this would be repeated in films such as A Ma Soeur and explained in Sex is Comedy).

Breillat has sometimes been likened to a female of De Sade. Not through any penchant for perversion perhaps as for her flagrant disregard for convention in being open about matters sexual. Yet in Brève Traverse, hers is similar to his literary style in another respect: she alternates fairly heavyweight discourse with elements of a more graphic nature. In some of her later films (Romance, Anatomie de l'enfer), this can become an arduous experience, especially for viewers unfamiliar with her ideas. But in Brève Traverse the intellectual content is more a gentle college lesson in seduction. With analogies on gender politics added for those that can keep up at the back. All delivered with the silver tongue of a woman out to get her man.

I used to think 'truth' was in the ears of the beholder. "Is this glass empty?" – well it depends whether I am standing in a bar or a physics laboratory. But Breillat is helping persuade me it is only at the discretion of the beholder. Would you agree? And what if you happen to be on your second brandy; the stars a canopy and the sea below; if our pheromones are intertwine; and nothing we say now will matter at the end of the crossing? Will your answer be the same?

"Roastbeef. No chips". Something commonplace like this marks the beginning of a short relation between a woman and a young boy. A woman, who lost all her illusions about love and marriage. A young boy, attractive for the woman because he still is naive and innocent. It is especially the role played by Sarah Pratt that puts this film on a high level. Returning to the trivial roastbeef-and-chips-scène at the beginning of the film: the way Pratt argues with the waiter: "I don't want them!". That's great acting. With simple means and with only two persons that really make this film Catherine Breillat has done very good directors work. Placed in the chilly décor of a ferry boat two people attract each other and have something - something what? You can't really call it a love affair. What they do have together during the few hours of the boat trip looks tense, reliable and sometimes moving.