L'amour et les forêts

Go out more they said. Meet men they said. Maybe that's not such a great idea after all... Lamoureux is anything but amoureux.

It's very uncomfortable and triggering. Watching the degree to which a woman allows a man to degrade her. And for what, for the love that he once gave her? Which was all clearly staged, a carefully conceived trap.

Peak confidence for a domestic abuser - admit he's an abuser and then blame her for allowing it to happen, for not loving him enough to prevent him from turning into an abuser.

Yeah, cats and wine seem better companions.

Not all men they said. Enough though.

A very serious story that is a brilliant base for the topic of abusive relationships. Any woman, starting at a young age, should understand such things. I think this movie would be great for such a topic. The context of the story perfectly captured the essence of such relationships and what kind of relationships they lead to.

The whole movie had me in suspense. The feeling was mixed with romance that quickly faded away. The good thing is that real happiness was still present. Thanks to such a cocktail of emotions, I was not left indifferent.

Undoubtedly, I would not have experienced such emotions if not for the amazing actors. They perfectly conveyed the necessary emotions. Both fear and anger were in the actors' faces and I still remember these scenes.

In addition to the acting talents, I would like to mention the good musical accompaniment that added color to the context of the scenes. These sounds did not let me forget what abusive behavior is.

Valérie Donzelli's *Just the Two of Us* (*L'amour et les forêts*) is a chilling exploration of the thin line between passion and possession. Adapted from Éric Reinhardt's novel, the film follows Blanche Renard (Virginie Efira), a woman who falls for the charming and enigmatic Greg Lamoureux (Melvil Poupaud). What begins as a dream romance quickly unravels into a harrowing story of manipulation and emotional abuse.

Virginie Efira delivers a heartbreaking performance as Blanche, capturing the vulnerability and strength of a woman trapped in a toxic relationship. Melvil Poupaud is hauntingly convincing as Greg, whose possessiveness and control escalate with a quiet menace that keeps the tension palpable throughout. Their dynamic drives the film, creating moments that are both devastating and utterly compelling.

Donzelli's direction is intimate and unflinching, using close, often claustrophobic framing to reflect Blanche's emotional confinement. The film's pacing is taut, gradually intensifying as Greg's behavior becomes increasingly dangerous. The screenplay, co-written by Audrey Diwan and Donzelli, is sharp and nuanced, offering an unvarnished look at the psychological toll of abuse while avoiding melodrama.

The cinematography contrasts the idyllic beginnings of Blanche and Greg's relationship with the dark, oppressive atmosphere of its descent, enhancing the emotional weight of the story. The score, subtle yet haunting, underscores the film's themes of love turned toxic.

*Just the Two of Us* is a powerful and unrelenting film that speaks to the complexities of abusive relationships. Best watched in a quiet setting, it's a story that demands attention and reflection, shining a light on the courage it takes to confront and escape such situations.

Rating: 8/10 - A tense, emotionally charged depiction of love and its dangerous shadows.

This one is not the first and not the last film about domestic violence but in my opinion, there can never be too many. The statistics showed this was especially common during Covid, when people stayed at home and their demons grew wilder. However, this one has nothing to do with lockdowns: it methodically and chronologically describes the classical story, and we see all the stages - first lies, feeling discomfort, alienation from social life, apprehension, guilt, desperation, danger, fear of the truth being revealed, guilt again, fear of physical assault, helplessness, panic, terror. Both the film itself and Melville Poupaud and Virginie Efira's acting show us how terrible it can be and that there's a way out of the nightmare the moment you realize you're in danger. In the movie, that happened quite late but hopefully this film will help someone to see the signs and end this horror earlier.

Somehow I got the impression Valerie Donzelli, whom I like as an actress, is a competent director; looking back I have only seen her _Declaration of War_, which left little impression. Her new directorial effort _Just the Two of Us_ is truly dreadful from the first minute to the last. It starts out with rapid close-ups of different characters, in TV-editing style, before we have even figured out who they are. It doesn't help that Virginie Efira plays two of them (for a while I was convince one is the fractured alter ego of the other!), and every five seconds Donzelli switches color filter. It makes your head explode. Efira is always fascinating to watch, but she is arguably not a versatile enough actress to bring life to both roles with only a change of haircut. Or perhaps it is the director's fault, giving her other character no screen time?

The domestic abuse theme is tepid. It doesn't help that I just finished watching another Efira film (_An Impossible Love_) in which her character is much more sympathetic, and even more of a domestic abuse doormat. That film by Catherine Corsini is no cinematic masterpiece either, but at least it isn't visually assaultive. The screenplay of _Just the Two of Us_ features cringe-inducing voiceover too; astonishingly, it won a Cesar best screenplay prize!

The only saving grace is the appearance by actresses I haven't seen in a while: Marie Riviere as Efira's character's mother, and Laurence Cote who used to be in films by Rivette (although I barely recognize her).

Watching these two films by female French directors -- one bland, the other like a poke in the eye -- makes me wonder why French and American critics hate Melanie Laurent so much. Laurent is a hundred times better than these two put together. I suppose that is her one unforgivable sin -- making the critics' darlings and festival inner circle crowd such as Donzelli, Corsini, Maiwenn, and the truly dreadful Mia Hansen-Love look like amateurs.