Leaving

She cheats, she lies, she leaves her family. You'd have every right to hate Suzanne, yet you don't. The one you hate is her self-righteous husband. It's nothing short of a miracle how Kristin Scott-Thomas and Yvan Attal pull it off. Admittedly, the script makes sure her betrayal brings out the worst in him, but I doubt you would take her side so easily if you read about it in a novel. It rings so true because writer-director Catherine Corsini works with a fine script and a first-rate cast. The way Sam cuts Suzanne off from the family fortune may be stretching the facts of civil law a tad, but it goes to show that there's no equality without economic independence. Despite its strong social message, the movie keeps you on the edge of your seat like a thriller. Take your family.

'Partir' (2009) is my first encounter with a film by the French director Catherine Corsini. The impression is mostly positive. Corsini (who is also the main author of the film's script) seems to me to be a mature filmmaker, master of her means of cinematic expression and well focused on the feminist thematics. She's also the type of director who knows how to choose the actors who fit her vision of the roles, letting them chose how they see the characters. In the case of this film, the lead role is played by the excellent Kristin Scott Thomas. The presence of this actress whom I appreciate a lot was the main reason why I chose to see the film. I was not wrong.

Suzanne, the film's heroine, seems to have everything she could wish in life. She is married to a wealthy doctor, lives in a sumptuous villa in the south of France decorated with modern works of art, has two teenage children who don't seem to cause any trouble. Looking for more interest in life, she plans to resume her occupation as a physiotherapist interrupted by the time she had to take care of the children. When she meets Ivan, a renovation tradesman, immigrant from Spain, who seems to have had problems with justice, what the French call 'coup de foudre' happens between the two. Does Suzanne and Ivan's relationship have any chance of being more than a simple extramarital affair? Everything seems to be against them - the husband's refusal to accept that he is losing his wife, economic conditions, social status. The price of fulfilling love seems to be huge.

I liked the directorial approach. Catherine Corsini doesn't judge her characters or condition her viewers to how they should feel. What happens between Suzanne and Ivan seems neither obvious nor inevitable. Nor is Samuel, the husband, an obnoxious figure, justifying feelings other than, perhaps, boredom. Kristin Scott Thomas has a complex and interesting role. Her Suzanne seems to be overwhelmed by feelings that erupt late in life. Attempts to control them rationally fail repeatedly in the face of emotions, and the woman herself seems bewildered by what is happening to her. Fighting the system and the people around has little chance of success. The two men in Suzanne's life are played by Sergi López and Yvan Attal. Both are excellent actors, although their roles are not as plentiful. 'Partir' manages to overcome the limits of a routine family drama and gives viewers a taste of true life and genuine feelings.

Director Catherine Corsini doesn't pull any punch depicting a love triangle of sort in Partir. Suzanne is a typical bourgeois wife of Samuel, a well-connected doctor. Children, big house, steady comfort, Suzanne has everything she could want, except passion. One day, she meets Ivan who make ends-meet working odd jobs and something clicks.

This very simple, very classic story is made worthwhile for several reasons. The main one being Kristin Scott Thomas delivering yet again a masterful performance. The role is tailor- made for this actress who knows how to subtly let us share the confused state of mind her character is in. Sergi Lopez and Yvan Attal are also good, although their roles are understandably much less challenging.

Where the screenplay shines is by not spoon-feeding us with justifications or condemnations for the characters. Suzanne's husband does seem somewhat boring, but he's not some evil one-dimensional character. And her new romantic interest Yvan is not an adventurous "alpha male". In fact, although Yvan does represent the freedom Suzanne never had thanks to his bohemian lifestyle, he seems like a somewhat vulnerable man and not terribly versed in "romancing" a woman. She seems more like the one pursuing him to enter this relationship.

Speaking of relationships, this is also where the movie shines. We're never entirely sure if what Suzanne is experiencing is true love, or rather if she's just looking for a way out from her husband and lifestyle. The director doesn't hold anything back, showing the vulnerability of each of the three character, how selfish they can be, discarding their responsibilities, lying and justifying reprehensible acts against each others.

This film is fascinating because, in the true tradition of French cinema, it goes for realism. You've seen some of these things happen around you, you may have lived through them. Watch this movie with a few people and you're likely to find people split. Some might sympathize with Suzanne, others with her husband, others with her lover. Yet others might sympathize with all three or none of them.

In short, Catherine Corsini is not trying to tell you what you should think and lets you make your own impressions throughout the events depicted. There is joy and pain in relationships because relationships, like us, aren't perfect. This is one such story, showcasing the imperfections.

My rating would be higher had we been provided with more context. We barely get a glimpse of Suzanne before she meets Yvan. As well, the conclusion did seem sudden and over-the- top to me. Lastly, I feel the husband and children could have used a few more minutes of screen time.

Kristin Scott Thomas has tended to play hard-ass women who keep their emotions in check, but in LEAVING the ice-princess doesn't just melt, she gives off steam! The sex scenes between Suzanne, the bored Parisian housewife, and her beefy Spanish builder are fairly bracing; it's clearly not his intellect that she's fallen for. Swapping her sterile modern house (irony here: her dull husband's a surgeon) for a seedy suburban apartment doesn't seem to faze her, but drama - indeed, melodrama - is lurking on the horizon. The director gives most of the ending away at the beginning (echoes of Sunset Boulevard), which I thought was a mistake.

Wife takes lover, tragedy ensues: it's a hoary old plot that shouldn't work but it does, thanks entirely to Scott Thomas's incandescent performance. Hopefully, she'll win awards for this.

Leaving (2009)

A very dry slice of life, and a common and awful slice of life--the breakup of a seemingly okay marriage. It's a very modern, well off, pan European series of events, mostly taking place in the south of France. There is devastation, violence, sex, hurt children, hurt friends, and mostly a lot of pain between the ecstasies. And I suppose that's how it really goes down. Fair enough.

But not necessarily the most engaging movie. I'm not talking about being entertained, but about being lifted, or made to rethink something serious, or maybe even be swept away in something lyrical. Not so. This is deliberately (or not) a study in realism, and yet a glossy one, with some neat ends tied up here and there. I mean, it may be a series of fairly realistic events, but this is a simplified, "nice" world.

The one really solid reason to watch this is the stellar, nuanced, deeply felt performance by British actress Kristin Scott Thomas. The range of moods is amazing, and moving, if you can get absorbed otherwise.