La Vérité

Stellar performances all round, particularly Clémentine Grenier. A star in the making.

The story, such as it was, left to the viewer to try and work out and unravel.

On the whole it was slow and in the end, just stopped.

I stuck with it, my wife gave up.

The most interesting element to come out of this film is a Japanese director taking on a French speaking film. Certainly an unexpected turn for Hirokazu Koreeda, director of the highly regarded Shoplifters, but there's nothing especially stimulating about the Truth. It has good performances, it's shot nicely and yes, it has things to say about stardom and it's impact on family, but not much else to elevate it from just being ok.

The only strong reaction I had for this film would be my complete destestment of the main character Fabienne played by Catherine Deneuve. She is an absolutely repulsive person who cares purely about her glory and her disappearing stardom. You see, Fabienne was a huge French star who has gone the way of the dinosaur and feels lost in a world that seems to be moving on from her. While a lot of material to work with here, Fabienne does not make it easy to like or even relate to her. Which is a problem when you can't quite convince yourself why her poor daughter played by Juliette Binoche is at her side for the runtime. She is a horrible person to be with and it doesn't quite make for an enjoyable experience when you detest her the entire film.

There are some generally nice moments sprinkled in the film especially the ones involving Fabienne's grand daughter who shines a light in all the falsity and horribleness of the actor world. Ethan Hawke is also a very charming presence in the film playing the wannabe actor/husband of Fabienne's daughter.

The film making scenes where it revolves around Fabienne starring in a science fiction film about an immortal young mother (Which has some thematic resemblance to Fabienne's real mother) are also well choreographed and generally interesting. The rest however sort of meanders on, not really finding any strong footing to land on. It purely floats around a character who isn't particularly likeable, sympathetic or for that matter, interesting.

I can't say it's bad. If you are looking for a sort of reflective and quiet look at a celebrity struggling to be still relevant and the dramas she puts her family in as a result, then sure it will pass the time well. I can't say it's going to be remembered long after though. More likely you'll remember how much you wanted Fabienne to receive punishment for being such a horrible person.

If you wrote your own book to tell your own story how close would your memories be to reality and how much would you conjure up, especially in relation to your relations and relationships. An incisive piece of film making that may lead you to further reflection of your own, on how you've arrived at where you are today and any distortions you may have invented for sustenance, survival and to cover and embalm the scars.

Catherine Deneuve without stretching plays a French cinema goddess, Fabienne, a diva who is the unremitting self-center of a family. All that and she underplays her to great effect that endears us to her as to her fans.

Although it's possible this comedy is a take on Deneuve's life, such an inference is unnecessary given Japanese director Hirokazu Koreeda's (Shoplifters) universal vision. Not only is Fabienne the essence of the superstar, she also represents the matriarch we all think of when we envision transcendent mom power.

Daughter Lumir (Juliette Binoche) and family visit mom in Paris to celebrate Fabienne's autobiography and role in a sci-fi where mother never grows old-now how fitting is that background? Given the scenery Deneuve could chew up, she has none of it. She softly throws in bits of sarcasm and bitchiness yet generally with an even temper, almost self-effacing, except she makes sure everything goes her way.

For cinematic reference points, strong mothers are countless; two come especially to mind: echoes of the mother's visit in Bergman's Autumn Sonata and an actress's moving in with mom in Postcards from the Edge. Koreeda's difference is the almost peaceful turns that could have been harrowing but end up being the natural flow of any family, not even an artistic one for that matter. You just need a strong mom.

Fabienne can't stop the aging process, which shows especially in her diffidence about her acting. However, none of this concern about aging detracts from her charm. To see the embodiment of an ageless French film icon and enjoy the central role a mother plays in all our lives, The Truth is, it's all true here with the work of a gifted Japanese director and a true film goddess.

This film is not what one may expect. Trailers leave one to think it's dramatic, but it's mostly a dramedy (comedy/drama), leaning more towards comedy. Deneuve has impeccable comedic timing, and it's a surprising side of her that many don't get to see in her numerous other films. Some reviews describe her character, Fabienne, as a narcissist, but those are clearly people who don't know what true narcissists are like. One can say that Fabienne is somewhat self-absorbed, though given that she's an actress, she is rather self-aware and not as selfish as one would expect (if you know the entertainment industry). Binoche and Deneuve have excellent chemistry on screen, and the difficulty in their relationship plays off well: both stylistically and emotionally. The film is a gentle view of a mother-daughter relationship that has been built on misunderstandings from two people who are quite different in their approach to the world around them. There are many laughs, but a few tears, awaiting the audience. It's one of Deneuve's best roles in a few years and she gives it her all. Binoche provides the more tangible emotions of the film, but don't let Fabienne (Deneuve) fool you into thinking she doesn't care or feel much at all. And that is the Truth.