Suzanne

The story: Suzanne (Sara Forestier) is a French working-class girl raised by a loving widowed father (François Damiens) along with her sister Maria (Adèle Haenel). A single mother at a very young age, she meets the wrong guy in town, a seductive petty criminal (Paul Hamy) she immediately falls for. She soon leaves her job to spend more time with her lover, starts to neglect her son... Suzanne's life is about to sink really hard.

The story behind the story: Suzanne is Katell Quillévéré's 2nd film after Love Like Poison (Un Poison violent) in 2010. Since then, she has directed an outstanding drama about heart transplant, Heal The Living (Réparer les vivants).

The pluses:

• A couple of great (and I mean really great) moments: when Suzanne's son calls her by her name rather than Mum (those who saw the film will understand what sequence I'm referring to), the way she hears of a bad news within her family...
• Solid acting from lead role Sara Forestier, and even better one from Adèle Haenel as Suzanne's faithful younger sister.

• Very original if not always compelling storytelling, letting the most spectacular events offscreen and showcasing more mundane but still very evocative moments of Suzanne's life.

The minuses:

• The downturn to the fragmented & elliptic storytelling I mentioned before: jumping from one vignette to another, I had the feeling of missing too much of the characters' lives & interactions to root for them as much as I should.

• While the film spans over 25 years or so, the depiction of the 80s or 90s is rather poor: the clothes, the cars, not to mention François Damiens' ludicrous fake hair when he's supposed to be young. This may sound like a detail, but I thought it undermines the veracity of it all.

• The story is rather interesting, but I'm still not really sure what point Katell Quillévéré wanted to make here (if there was ever a point to be made).

Verdict: Overall, I enjoyed watching this touching family saga, but I felt Katell Quillévéré's unquestionable talent may have been better served with a more focused story such as in Healing The Living.

Time and again French cinema has made it loud and clear that family is a sacred institution which must not be harmed at any cost. This is the reason why several films based on the theme of family life continue to be made in good numbers in France. Although director Katell Quillevéré's second film is about a girl Suzanne, it is her father Nicolas who is the "real hero" of the film for a lot of sacrifices are made by him. He is the one who sees all the transformations which have taken place in the life of his daughter Suzanne. It is Nicolas who has always been there for Suzanne despite his professional limitations as a truck driver. Belgian actor François Damiens shines in this role as his performance is so rich, natural and incredibly real that one cannot help feeling that in real life too he might be a real father with real children. It is with a lot of subtlety that Katell Quillevéré drives home the message that a family cannot do much for one of its members if wrong personal or professional choices are made. Lastly Suzanne is one of the best French films made in recent times for which if viewers wish to shed some tears of sadness then it must be for Nicolas who plays two important roles for his daughters : a father as well as a mother.

I had heard so many wonderful things about Suzanne and so I went into it with great expectations only to have them dashed.

Suzanne is less of a movie than a series of vignettes. I don't have a problem with unstructured or loosely structured movies, but with Suzanne the movie covers such a broad amount of time (over 20 years) and is so short (90 or so minutes) that it feels jolting to watch as children bloom into adults abruptly with no transitions between scenes.

Loosely, the film follows the Merevsky family which consists of a father and two daughters after their mother dies. The family is working class, and the father works as a truck driver with long absences, but they are close knit. Suzanne is the eldest and she falls pregnant with a son that she raises as a single mother with her family. Sometime later she falls in love with a low-level drug dealer and things go south for the two of them as they can't keep away from one another, nor can they find a more lucrative means of employment.

The acting is very good and director Quillévéré has a beautiful eye for making the movie feel cinematic despite the very basic subject matter, but again, the plot is so scattered and he vignettes go by so quickly it's hard to care.

A missed opportunity, especially with so much talent behind and in front of the camera.

Well if you don't like French cinema's style, you will probably not like this one either, bit its your loss. Its a really good movie, I loved it. Very human, about a young girl and her sister who lost their mother when they were babies, and who fell into many difficulties of unpredictable, passionate life. Two working class girls and their father love each other enormously, but the life is not sparing them, with all its turmoils.I actually love the script of this movie. While it seems that everything which is happening is caused by the older sister's unfortunate affair, its just simply their honest, simple, non-calculated nature that is ruining all of them, but also give them some strength in difficult moments. I also see why Adele Haenel got the Cesar for the supporting role, her performance is heavenly in this film. All the cast is really good. Corinne Masiero showing up in a small role, for me that is always a plus. I love this. One of the better films of French cinema in the last ten years.

There's a lot to like in Katell Quillévéré's film 'Suzanne', the story of a woman who's life drifts out of control: its great sense of natural warmth and emotion, and the delicate, poignant soundtrack. Credit should go to the two young actresses at its heart. But the film lacks the intensity you might expect in a story of self-destructiveness: it's episodic nature spares us from the gloom of Suzanne's lowest moments in a way that doesn't feel wholly honest and undermines the context of the happier scenes. Another way of putting it is that the film lacks a fixed perspective: we see Suzanne's life neither quite as she sees it, nor as anyone else does. But Quillévéré is clearly a natural talent: she will make great films in future, even if this one isn't quite there.