Parlez-moi de la pluie

Agnes Jaoui's films 'Le Gout des autres' and 'Comme une image' are among my favourites of contemporary French cinema. They're smart, well-written, understated comedies that get right under the skin of middle class relationships and neuroses. As such, this, her latest, is an enormous disappointment. The humour is forced and the characters are under-drawn - what is a relatively short movie felt very long indeed. The subtlety of Jaoui's previous films was completely missing - it's as if she's aiming for a much broader audience. Fatally, almost all of the characters are completely unsympathetic - the one exception is an old North African woman played by Mimouna Hadji. I really couldn't care less about these people, their failing relationships or their political ambitions because they just didn't ring true. I suspect that this is a film that will find a limited audience outside France.

This was a flat movie. It is, briefly, the story of two sisters, one an author/feminist who is considering going into politics, the other "just a sister," who seems just to sit at home with her boyfriend, who is sort of flat too. A has-been movie director convinces the would-be politician to sit for a series of interviews, which go poorly. In between we see a little of the director's life with his son - he is divorced and his ex has custody, so he doesn't see his son often. We see a little of the romantic/private life of the feminist, whose boyfriend feels like he has become unnecessary in her life and leaves her. We see that the two sisters evidently have some unresolved issues concerning their mother, who passed away the year before. The housekeeper also evidently has some issues with her ex, but they aren't explored either. Nothing really is, and yet this movie goes on for a long time, or so it seems.

There is no real character development for any of the characters. The dialog is not interesting. The few shots of Provence are nothing special. The movie, in short, is nothing special.

Flat.

The French are good at it. These conversation movies, there most of the action comes from the talking and there the people only exist through that.

Here we meet the high-heeled Parisian feminist, who according to the rules she keeps, has decided to have a boyfriend, decided to live alone, decided to have no children. A success story, worth a documentary to the old humbug disillusioned film-maker and the younger and more idealistic Karim of Arabian origin. By the way, Karim's mother works as a maiden in the household of the high-heeled feminist's sister.

This is funny and intelligent and not sensational. You won't remember it, but in some ways, you won't forget it either.

Having been a huge fan of Jaoui and Bacri's films for many years, I have to admit I approach each one with a vague sense of trepidation in case they mess things up. I wasn't overly enamoured with their last film, Comme Une Image, as I felt Bacri's standard hapless-and-frustrated-but-ultimately-lovable character had become plain nasty and cruel. This time, I think they got it spot on all round. What I love about their films is that you can watch them again and again, taking something new from them with each viewing. Focusing on the minutiae of life whilst using delicate brush strokes to highlight the intricacies of human relationships via gentle but hilarious comedy is what they do best, and I found this film frequently hilarious. The actors are all superb, and the various characters give such a seemingly mundane story a depth not many films achieve, as French political life and its future are examined with a delicate touch by Jaoui, who credits her audience with much intelligence. The sight of an ambitious feminist politician leading a white middle-class man, a young French Arab and a flock of sheep down a hill, before the group get lost and are rescued by a pair of farmers, struck a chord with me, as did the relationship between Karim's mother and the bourgeois family for whom she works without being paid. There were some question marks, such as Karim's seemingly invisible wife he seemingly wants to cheat on when she herself appears affable and friendly, but overall it's a thought-provoking, entertaining and downright funny film.

The story is set in a small town in the Midi, in France. Throughout the film, as the characters appear, they are revealed through dialogs they carry on with each other. So, as the film goes on, we have the feeling that things are rather stuck in this place.

Michel, nearly fifty, aspires to be a reporter-filmmaker that he didn't succeed to be so far. It is, actually, a clumsy, nonchalant guy, who doesn't do right what he intend to, and relieves his frustration smoking joints. He is divorced, has a teenage son with whom he spends a weekend once in a while, and is having a future less affair with Florence's sister, Agathe, who is married to Stéphane.

Florence, nearly forty, Agathe's sister, is married to Stephane. They have two children. But she feels miserable with her housewife life, along with a husband who has no energy to solve the shaky family financial situation. She seems to bet on her relationship with Michel to get free from her situation. This way of seeing the future makes her a kind of a bovarist.

Karim, has qualities that were frustrated by his humble origins and perhaps also because he lived all his life in a small town where the opportunities are scarce. He is the son of a maid (Mimouna) born in the Maghreb, and who works for Florence and lives in the house of this latter. Karim works as a receptionist in a small and modest hotel, down town. He is skilled in film mounting and tries to get free of his mediocre situation as a receptionist, working on projects of Michel, who rarely reach an end, because of Michel style.

Agathe, lives currently in Paris (she developed a career away from that Midi where things are rather stuck). She has a comfortable social position, and is successful professionally as a politician. She visits the small town where she spend her childhood, to tackle some political issues, and problems related with the heritage left by her mother. At the beginning of history, she looks like some one who is well resolved psychologically. But throughout the film we realize that this is not true. Her passage through the small town triggers the hole story.

Mimouna, mother of Karim, comes from the Maghreb. She has been working for many years for the Villanova family, since when they lived in Algeria (?). In the past, she babysitted Florence and Agathe who have a strong relationship with her. She lives apart from her husband who abandoned the family in circumstances apparently nasty.