Partir

it's very deadly and absolutely out of control. when you fall for a man or woman, it's just like a sudden addiction, the lust and passion, the sexual desire are so strong that all the existing relationship, families, kids...anything would suddenly meaningless. it's an incurable blindness and nothing can be reasoned or rationalized by logic. this film just told us such a crazy obsession so destructive and dangerous. when you fall for a man and woman so suddenly with such huge impact, the morality, faithfulness and loyalty to your old existing relationship will be suddenly bounced like a bad check, the existing old checking and saving bank accounts related and honored to that check seem to abruptly become empty or overdrawn. an affair, an adultery would be just like that person suddenly decides to open a brand new bank account to another banking system. a regularly taking care of bonsai is suddenly forgotten. we have seen so many cases like this in our daily lives, and so many movies also portrayed such incidents. and this film is a great example to show you how a normal woman suddenly lost her marbles and so mysteriously fell for another man without any obvious reasons. a very weird case but in the mean times, seems to be also so understandable.

'Partir' (2009) is my first encounter with a film by the French director Catherine Corsini. The impression is mostly positive. Corsini (who is also the main author of the film's script) seems to me to be a mature filmmaker, master of her means of cinematic expression and well focused on the feminist thematics. She's also the type of director who knows how to choose the actors who fit her vision of the roles, letting them chose how they see the characters. In the case of this film, the lead role is played by the excellent Kristin Scott Thomas. The presence of this actress whom I appreciate a lot was the main reason why I chose to see the film. I was not wrong.

Suzanne, the film's heroine, seems to have everything she could wish in life. She is married to a wealthy doctor, lives in a sumptuous villa in the south of France decorated with modern works of art, has two teenage children who don't seem to cause any trouble. Looking for more interest in life, she plans to resume her occupation as a physiotherapist interrupted by the time she had to take care of the children. When she meets Ivan, a renovation tradesman, immigrant from Spain, who seems to have had problems with justice, what the French call 'coup de foudre' happens between the two. Does Suzanne and Ivan's relationship have any chance of being more than a simple extramarital affair? Everything seems to be against them - the husband's refusal to accept that he is losing his wife, economic conditions, social status. The price of fulfilling love seems to be huge.

I liked the directorial approach. Catherine Corsini doesn't judge her characters or condition her viewers to how they should feel. What happens between Suzanne and Ivan seems neither obvious nor inevitable. Nor is Samuel, the husband, an obnoxious figure, justifying feelings other than, perhaps, boredom. Kristin Scott Thomas has a complex and interesting role. Her Suzanne seems to be overwhelmed by feelings that erupt late in life. Attempts to control them rationally fail repeatedly in the face of emotions, and the woman herself seems bewildered by what is happening to her. Fighting the system and the people around has little chance of success. The two men in Suzanne's life are played by Sergi López and Yvan Attal. Both are excellent actors, although their roles are not as plentiful. 'Partir' manages to overcome the limits of a routine family drama and gives viewers a taste of true life and genuine feelings.

Leaving (2009)

A very dry slice of life, and a common and awful slice of life--the breakup of a seemingly okay marriage. It's a very modern, well off, pan European series of events, mostly taking place in the south of France. There is devastation, violence, sex, hurt children, hurt friends, and mostly a lot of pain between the ecstasies. And I suppose that's how it really goes down. Fair enough.

But not necessarily the most engaging movie. I'm not talking about being entertained, but about being lifted, or made to rethink something serious, or maybe even be swept away in something lyrical. Not so. This is deliberately (or not) a study in realism, and yet a glossy one, with some neat ends tied up here and there. I mean, it may be a series of fairly realistic events, but this is a simplified, "nice" world.

The one really solid reason to watch this is the stellar, nuanced, deeply felt performance by British actress Kristin Scott Thomas. The range of moods is amazing, and moving, if you can get absorbed otherwise.

Kristin Scott Thomas has tended to play hard-ass women who keep their emotions in check, but in LEAVING the ice-princess doesn't just melt, she gives off steam! The sex scenes between Suzanne, the bored Parisian housewife, and her beefy Spanish builder are fairly bracing; it's clearly not his intellect that she's fallen for. Swapping her sterile modern house (irony here: her dull husband's a surgeon) for a seedy suburban apartment doesn't seem to faze her, but drama - indeed, melodrama - is lurking on the horizon. The director gives most of the ending away at the beginning (echoes of Sunset Boulevard), which I thought was a mistake.

Wife takes lover, tragedy ensues: it's a hoary old plot that shouldn't work but it does, thanks entirely to Scott Thomas's incandescent performance. Hopefully, she'll win awards for this.

Kristen Scott Thomas is excellent in 'Leaving', a traumatic but excellent film about the break up of a relationship. Much is acutely observed here: the casually indifferent husband who becomes a monster when crossed; the affair, depicted without moral judgement, that attains unexpected emotional significance because of the previously hidden fault-lines it exposes; the sex scenes, unusually effective, in which much is conveyed through the pattern of breath. Plus there's a luscious (but sensitive) soundtrack, and Scott Thomas's brilliant performance as a woman gradually losing her grip on first happiness, and then sanity. The ending is subtly different to the one first suggested: that it is a happier one is unclear in a dark tale.