Il gioco delle coppie

An easy going movie, with nothing special, nothing to be attracted, just for a good time in a summer cinema

"Nonfiction" (2018 release from France; 108 min.; original title "Doubles Vies" or "Double Lives") brings the story of a group of friends and assorted professional acquaintances. As the movie opens, we get to know Leonard, a writer, and Alan, his publisher. Leonard as finished a manuscript of a new book, but Alain is not really impressed with this latest effort, another work of "auto-fiction" in which Leonard talks about his affairs. Meanwhile Alain meets with Laure, who has been hired to shake things up at the publishing house to ready it for the digital age. Later on that day back home, Alain and his wife are hosting a group of friends for drinks and dinner, and the conversation flows freely from e-books to politicians... At this point we are less than 15 min. into the movie but to tell you more of the plot would spoil your viewing experience, you'll just have to see for yourself how it all plays out.

Couple of comments: this is the latest film from writer-director Olivier Assayas, who recently gave us the excellent "Personal Shopper" and "Clouds of Sils Maria". In this movie, Assayas brings us a look at the lives of a group of "elites" (writers, publishers, actors, etc.) who are dealing with every day issues just like you and me: professional challenges and personal issues. From the get-go, the movie charges at 100 mi/hr. and the talking is fast and furious. Close your eyes for 30 seconds and you've missed an entire chapter, so to speak. The movie benefits enormously from an outstanding all-star ensemble cast, led by Juliette Binoche as Selena, Guillaume Canet (Frane's equivalent of Ryan Gosling) as Alain, Vincent Macaigne as Leonard, Christa Theret as Laure, and Nora Hamzawi (France's equivalent of Lisa Kudrow) as Valerie (Leonard's wife). Beware: this is a talkie, meaning no action scenes to speak of (the one exception being when Juliette Binoche's character is filming a scene from her TV cop show). But what is lacking (?) in action is more than made up in the sharp, at times witty, at times deep, conversation between the characters. I absolutely loved it. I have no idea why the US release has been retitled "Nonfiction", whereas the original French title "Double Lives" is far more adequate.

"Nonfiction" premiered at last year's Venice film festival, and finally made it to my art-house theater here in Cincinnati this weekend. I couldn't wait to see it. The Friday early evening screening where I saw this at was attended so-so (8 people in total, including myself), which is a darn shame, although I can certainly appreciate that this movie isn't for everybody. Hopefully this can find a larger US audience as it is released on other platforms. If you are in the mood for a French talkie featuring a top notch ensemble cast, I'd readily suggest you check this out, be it in the theater (if you still can), on VOD, or eventually on DVD/Blu-ray, and draw your own conclusion.

Interesting and entertaining. The English title is "Non-Fiction", but the original French title "Doubles Vies" (Double Lives) is more descriptive. The theme centers around writing and publication in the internet age, with provocative snippets of bracing conversation, some hilarious deadpan humor, and sexual infidelity as a metaphor for how writing cheats reality, all perfectly framed by the French language and the Gallic temperament. (Needs to be seen in the original French, with subtitles if necessary.) You could describe it as a fast-talking intellectual comedy, but it's one of those movies that can be as deep as you want to make it. I plan to rent it so I can stop/replay some of the dialogue. The director, Olivier Assayas, is a master of layered meanings.

Greetings again from the darkness. Kids today (shake your head while saying it). No one reads anymore, and when they do, it's only e-books and blogs. Such is the ongoing discussion throughout this latest from writer-director Olivier Assayas (PERSONAL SHOPPER 2016, CLOUDS OF SILS MARIA 2015). Lest you think the debate between traditional hardback books and digital literature takes up the full run time, you should know that such serious discussion is wrapped in a more traditional French sex farce ... and a quite entertaining one at that.

Guillaume Canet (the excellent TELL NO ONE, 2006) stars as publisher Alain Danielson. He has a lunch meeting with his client and friend, author Leonard Spiegel (a very funny Vincent Macaigne) where he declines to publish Leonard's latest manuscript. Alain claims it's too easy to identify the real people mentioned in the story, despite the name changes. Leonard says it's "auto-fiction", meaning his writing takes inspiration from his life. One of the ongoing gags (no pun intended) revolves around an inappropriate act in the theatre during a screening of Michael Haneke's WHITE RIBBON - or was it during STAR WARS: THE FORCE AWAKENS? Such is Leonard's sly way of disguising his characters and life.

Juliette Binoche co-stars as Alain's wife Selena, and Ms. Binoche takes full advantage of one of the few films where she can flash her comedic chops. Nora Hamzawi plays Valerie, Leonard's wife, and she is delightful as the spouse who refuses to build up Leonard's ego or provide any boost whatsoever to his confidence. Instead she spends a great deal of time reminding him of what his critics are saying. The final piece to this puzzle is Christa Theret, who plays the Head of Digital Transformation for Alain's publishing house, and is the constant instigator in the push towards digital.

Quintessentially French may be the best description for the film and these characters. At the dinner party, the conversation is stimulating and intellectual, while in their personal lives, it seems everyone is sleeping with someone else. Most every character worries about infidelities, while it's a part of their own life. Even Twitter is treated as "very French" in that it consists of '4 very witty lines'. Clever lines are spoken frequently, especially from Leonard who says he writes "feel-bad books" rather than the usual "feel good" ones. And Alain refers to Leonard's last book as "a worst seller".

Fewer readers, books vs digital, and the popularity of blogs all play into the generational debate of change/progress vs traditional ways. Whether books and libraries are a relic of the past is certainly a viable topic, but the comedy-infused relationships keep the film from ever feeling too heavy. Ms. Binoche has a recurring bit where her TV role is misidentified as a cop, and she (in character) plays along with what may be the first ever Juliette Binoche on screen joke.

Filmmaker Assayas previously tackled art appreciation, or the lack thereof in modern times, with his 2008 film SUMMER HOURS. This time he turns his attention to literature and we can't help but notice some similarities to the works of Woody Allen and Eric Rohmer with the vibrant dialogue and awkward relationships. The French title translates to "Double Lives" which is not only a better title, but also a more descriptive one. However, by the time the 'Martian Martian' song plays over the final credits, you will likely feel entertained ... in a mostly French manner.

I have, of late, become quite a fan of the films of Olivier Assayas, though I was put off this, his last to show in London, by some very iffy reviews. It is, however, fine. I enjoyed it and if there is not much story to relate there is pleasure enough, for me anyway, listening to the various conversations. Conversations about the writing and reading of books and each others wives. The French title is Doubles Vies which translates directly as Double Lives and is perfect, so much so that it amazes me that it was ever changed for the US/UK market. Surprisingly devoid of politics, which is a surprise considering some of the director's previous films. The only real reference is to a disgraced would be leader and comments made suggesting people go into politics to satisfy their own ego rather than to effect change and perhaps this is Assayas' justified snide political comment.