The central figure within the French drama “Suzanna Andler” is a girl for whom ardour, tragedy and indecision elicit the same response — a shrug. Her voice never raises; her face not often betrays her feelings. She speaks to her friend, her husband and her lover within the same monotone. Even a elevate of the eyebrows is just too active for this inert film.
Suzanna (Charlotte Gainsbourg) is the stylish wife of a rich businessman. He neglects her, or they neglect one another, and in Suzanna’s leisure time, she has taken a youthful lover, Michel (Niels Schneider). The film takes place in a single afternoon, as Suzanna contemplates renting a summer season home along with her husband’s cash.
Michel comes to go to, and his presence pushes Suzanna to think about pending choices that hang-out her. Should she lease the house? Should she go away her husband? Should she drink herself to death? Who cares?
“Suzanna Andler” is an adaptation of a play by the author Marguerite Duras, best known in cinema for her contributions to the screenplay of the 1959 film “Hiroshima, Mon Amour.” The director Benoît Jacquot’s interpretation of Duras’s disaffected characters leads him to keep his photographs indifferent. Pans and zooms show the same dispassion that his characters profess. Lovers kiss, and the digicam strikes away from the motion.
It’s a take a look at of persistence to look at these glass collectible figurines focus on their romantic entanglements, the doll house on the Riviera that they may possibly lease, the bourgeois marriages they may possibly go away. Even the digicam appears bored, as if it’d wander away.
Not rated. Running time: 1 hour 31 minutes. In theaters.