Sob a Areia

Mental illness as a lifestyle option seems to be the theme of this work. Very potent in examining the reality and meaning of loss and acceptance (or lack thereof). The always captivating Charlotte, (great to see Dirk Bogarde's little girl all growed up) looking elegant as a woman of a certain age in a very Anglo-Parisian sheath dress-wearing kind of way, is wonderful in her ability to convey contained confusion struggling to make sense of a pain too great to bear. Also noteworthy, stylistically, is a rare instance of unease being effectively evoked in spite of sunlit sets and daytime outdoor shots. No doom and gloom here, she gets to suffer in the light of day. A film that will remain with the moviegoer long after viewing because of its painful emotions and its visually powerful final shot.

Many film fans run screaming for the door when confronted with French film drama. It is true: a lot of them tend to be over-talkative and self indulgent. François Ozon's Sous le sable is a worthy exception. Carried almost entirely by Charlotte Rampling, this story of a woman unable to face the loss of her husband marks the return to form of a great actress. Through her sensitive handling of her character one tends to forget the effort that must have gone into depicting an intelligent woman slowly going to pieces. Ozon managed to capture the special sensuality of an older woman especially well in the erotic scenes; imagined or otherwise. It is not an easy film to watch, the subject matter too painful, but its unflinching honesty coupled with Ramplings moving performance make it more than worth-while.

I just saw this film on cable last night, and thought it was wonderful - extremely moving, almost terrifying at times. Charlotte Rampling gave what was truly one of the two or three best, if not the best, performances by an actress in 2000 (take that, Julia Roberts). Extremely affecting, and highly recommended. However, I am confused by the cast list - I could have sworn that the actress playing Marie's best friend was Gena Rowlands, but she's not listed anywhere, so I'm not sure it was her after all. A great movie, rent it if you haven't seen it.

I disagree with a few comments below: first, I believe it 'is' appropriate to switch back and forth between French and English because the character is an english literature professor in Paris and has bilingual friends; second, I feel it is unfair of anyone to characterize the main character as elderly, she is sensual, attractive, and tentatively has a good life to live in her future. I think the loss to the woman of her husband is like suddenly confronting the loss of the last 25 years of her life. To be able to cope with this changed reality she must cautiously explore a new experience; she is afraid to let go of her past and afraid to take hold of a future. I believe at the end of the movie we are shown that she will continue to refuse to relinquish the past, yet, invariably, it is shown to her that she must go on, embracing the present, as must we all.

As a film script writer and director, Ozon has evolved and matured in "The Swimming Pool" and "In the house," developing his pet themes involving sex lives and mental infirmities. But the the real value of this film will remain Ms Rampling's performance which is comparable to her turns in "The Night Porter, " "The Damned," and "Hannah." She is evidently magical whenever she works with Ozon.