Though maintaining a very low-key tone, this immediately looks and feels so very different from Chantel Akerman's earlier films ('Je tu il elle,' 'Les rendez-vous d'Anna,' and especially 'Jeanne Dielman') that I had to periodically check to make sure I was watching the right movie, and one of hers. Music is prominent at intermittent points (very much enriching the proceedings whenever it does crop up), and the soundtrack is generally kind of busy; the camera moves, and the narrative on mind is much more discrete, active, and dynamic than has been the case elsewhere with Akerman. Yet this is invariably of the same high quality one expects from the filmmaker, exquisitely crafted with all the skill and intelligence we know she possessed. It may not be readily appealing for those who seek quicker gratification from cinema, but whether one is a fan of Akerman specifically or just looking for a good, subdued drama, 'La captive' is excellent.
This retains to some extent, within the framework of a slightly more conventional drama, the minimalism that the filmmaker had mastered early in her career. There is rather little going on in a scene at any given time, and the acting is kept at a very controlled, muted tenor. Be that as it may, as director Akerman orchestrates shots and scenes with the same keen artistic eye she had shown from the start, and the feature is curious and engrossing right away. Sabine Lancelin echoes the broad airs of quiet refinement with cinematography that's crisp and vivid in capturing every shot, making the viewing experience all the more pleasing. This is all the more true in light of gorgeous filming locations, and exquisite production design and art direction, that pop out with terrific color and elegance; naturally the hair, makeup, and costume design are just as splendid, if less prevalent.
Above all, however, Akerman has conjured a story that's a bit dark and haunting in a way, and roundly intriguing and captivating. 'La captive' is thought-provoking as pensive Simon, controlling to the point of abuse, nonetheless flounders when he realizes he doesn't know everything about Ariane, and never could. Perplexing as it may be that Ariane willingly attached herself to Simon, genuine affection can't withstand the disparity between them. Both characters are shrewdly complicated, and the dialogue between them, or in Simon's attempts to gain more understanding, is absorbing in and of itself. The scene writing is stark and unexpectedly bewitching in the hushed buzz of tension that underlies this central relationship, from the coldness of early scenes to the more heightened drama of the last stretch. It's a great credit to Sylvie Testud, Stanislas Merhar, and (in a smaller supporting part) Olivia Bonamy that they infuse so much nuanced range and depth of emotion into their roles in light of what is mostly so restrained a picture, and this couldn't have the underhanded potency that it does without them.
Even Akerman's most highly acclaimed and well known movies are unquestionably best suited for a select audience. While this one bears more similarity in some ways to titles that most viewers would be more familiar and comfortable with, it's nonetheless still quite understated, and without even taking the subject matter into consideration it won't appeal to all. For my part I wouldn't necessarily say that it's as strong as some of Akerman's other works, either, though that's just a matter of personal preference. Him and haw as one might about the particulars, however, all the same I think this is very well done, a finely made, engaging, and satisfying exploration of a fraught relationship. It may not be something one needs to go out of their way to see, but if you do have the opportunity to watch then 'La captive' is well worth two hours of one's time as far as I'm concerned.
