Frankie

I saw 'Frankie' today (Oct. 6, 2019) at the Mill Valley Film Festival. A more slow-moving, uninteresting film would be hard to find. Other critics of the film have done a good job of laying out the plot, so I won't take up your time. My low rating is based on the low (lowest) energy that this film puts out. It is as though no one has the energy to show emotion. As though the Portugal heat has had its effect on everyone. But more than anything else the film runs as though it were a table-read; actors with script in hand, doing a first read at a table. The camera work is leisurely at best. This could be a TV soap-opera episode as easily as a theatrical film.

And for that there's no excuse.

Then why, you might ask, the four stars. For Ms. Tomei and Mrs. Hupert, that's why.

Director Ira Sachs (Kept the Lights On, Little Men, Forty Shades of Blue) wrote the screenplay with Mauricio Zacharias for this gentle whisper of a film that is one of the more subtle, visually impressive, and tender reflections on the subtleties of relationships and families to grace the screen.

Frankie (Isabelle Huppert) is a famous and much admired film actress who has gathered her dissipated family in Sintra, Portugal as a gesture of farewell: she is in Stage IV metastatic carcinoma. The ensemble includes her first husband Michel (Pascal Greggory) and her son by him Paul (Jérémie Renier), her present husband Jimmy (Brendan Gleeson) and his daughter Sylvia (Vinette Robinson) her husband Ian (Ariyon Bakare) and granddaughter Maya (Sennia Nanua), along with Frankie's longterm hairdresser (from films) friend Ilene (Marisa Tomei) who is with her co-worker Gary (Greg Kinnear). The interweaving of these interesting personalities creates intimate side stories as they gather in this picturesque locale, the home of a magical fountain of life. Frankie has envisioned the way she hopes old connections among this disparate group of people will correct, and while those ideas don't materialize, the mysteries of companionship and love continue to find their own destinies.

The spectacularly sensitive cinematography by Rui Poças and the special atmosphere the music of Schubert's Moments Musicaux and Debussy's Arabesques allow the film to be pensive and understated. The quiet prolonged ending of the film is worthy of awards, so well sculpted by director Sachs that it allows the messages of the film to absorb in stillness.

In an age when high tech CGI, noisy action, and crude physicality films dominate the screens, this little film is a gentle reminder of those aspects of living that deserve out appreciation.

Frankie (Isabelle Huppert) is a dying French star. She organizes a family stay in Sintra, a sumptuous Portuguese seaside resort near Lisbon, the main purpose being an opportunity for all the remaining relatives to get closer and learn how to live together ... without her. I loved how she makes believe that she orchestrated a highly unlikely rapprochement between her son Paul (Jérémie Renier)) and her friend Irene (Marisa Tomei) while her objective is undoubtedly with other ones.

The making is probably excessively contemplative and the result is not as accomplished as Little Men (2016) also directed by Ira Sachs, all the characters suffering from an understandable but excessive temporal acedia. 5/6 of 10

Frankie (Isabelle Huppert) is having a holiday. A somewhat famous and somewhat rich actor she invites her family for their last outing together as due to her cancer she is not going to make it to Christmas. This is a modern family indeed, which involves her gay ex-husband (Pascal Greggory), her current Scottish hubby Jim (Brandon Gleeson), her stepdaughter and her son (who may or may not have feeling for each other) and a couple from New York Irene (Marisa Tomei) and Gary (Greg Kinnear) who have been summoned here for a reason.

For some it's a good day, for some it's heartbreaking, but for Frankie it may be just one of the few happy ones left...

Told without pathos and preaching this is a quiet reflective film about one strong woman facing her mortality and accepting that no matter what, the world will carry on without her.

Isabelle Huppert gives a great performance as usual, but here there's a feeling she brings in a little bit of her real self to the role. The ensemble of great actors is everything here and makes the patchwork of encounters and dialogues entertaining and meaningful.

FRANKIE may be considered a little dull, there are no comic situations, no great arguments, no characters to root for and hope that they achieve a certain goal. Frankie, just like the rest of her family, is only trying to get through a day and somehow we are very comfortable in their company, watching them wandering aimlessly through the picturesque Portuguese gardens and beaches. FRANKIE is worth watching for the performances and for the soothing feeling that may let you appreciate your life a little more.

As a Portuguese movie buff it delights me to no end to have such an incredible cast work in my home country. It really is a fantastic ensemble from very different parts of the world and from different eras and acting schools. You can imagine how disappointed I was when I finally got to see the movie. A very slow, soulless piece, with very little energy and absolutely no interest. And the biggest sin was that Ira Sachs gave all this wonderful and accomplished actors absolutely nothing to work from. Not even the beautiful imagery of Sintra could save this. What a shame and a wasted opportunity.