L'amour et les forêts

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.

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.

Fantastic, straightforward film with an intricate portrayal of a psychopath tormenting a strong woman who's found herself in his web. There isn't that much to be said, which is a good thing. The main heroine carries herself with poise and dignity throughout the horrific ordeal, and emerges victorious. This is a disturbing enough thriller, realistic, and without any Hitchcockian ambiguity, being clearly done through a female lens. While fully delivering aesthetically, it would hopefully serve to leave any abuse victim feeling empowered. We need more films to call out such abusers: "petit monsieur".

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.

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.