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Joan the Maid 2: The Prisons


            La historia de una profesora de filosofía.
    

Things to Come


            Marguerite, Baronne Dumont (possibly a nod here to the majestic Margaret Dumont in the Marx Bros films) may have married her husband Georges for his title (and he her for her money) but she genuinely loves him; and her horribly misplaced musical ambition is to make him proud. He, however, addresses her as "vous" throughout the story, and is having an affair with a mutual friend, using his temperamental motor-car "breakdowns" as excuses to miss her singing whenever possible. Her musical social circle are all too aware that Marguerite lacks any singing talent, but her neighbours enjoy her lavish hospitality; avant-garde poets and performance artists hijack her bizarre renditions for their own ends; and others simply haven't the heart to break hers by telling her the truth, especially as she's helping raise money for war orphans (it's 1920).Marguerite's butler Madelbos is a keen amateur photographer who intends his shots of her operatic costumed poses to make his name when eventually she performs in public and becomes famous - for the wrong reasons. He even uses photos to blackmail washed-up gay tenor Pezzini to take the job of Marguerite's voice coach, to the despair of Georges who had hoped Pezzini would tell the truth.Pezzini makes the most of his enforced role, bringing his retinue to stay and putting Marguerite through a variety of bizarre exercises. A benefit concert of solo operatic showpieces is arranged. Just before it, Marguerite discovers Georges' infidelity and is devastated, though dignified. Georges says the affair is now over. He resolves to attend the concert, though dreading the ridicule. Marguerite begins; the house freezes then collapses into incredulous laughter. But for a few moments, as Marguerite sees Georges in the audience, she sings true: then collapses, coughing blood.A voice doctor pronounces that her voice just needs rest. But Marguerite is losing touch with reality as her dreams of an international singing career become a reality to her. The doctor records her spoken "memoirs" of concert engagements on a phonograph. Georges decides that the doctor should record Marguerite's singing to shake her out of her delusions; but regrets his decision and dashes to the hospital. He's delayed by his car - genuinely - breaking down, and arrives just in time to catch Marguerite's fatal collapse as she finally hears the truth. Madelbos captures her last moment of life, cradled at last in Georges' arms.
    

Marguerite

Rapt

Me, Myself and Mum


            Its 1971, and the youth of suburban Paris are still waging the struggle against both a reactionary government and a complacent society, a revolution they believe is just beginning, and their impassioned debates bleed into the streets.
Gilles (newcomer Clément Metayer) is a high school student torn between left-wing activism he distributes underground newspapers and spray-paints slogans on the schools walls and his aspiration to become a painter or filmmaker. After being left behind by his alluring but non-committal girlfriend Laure (Carole Combes), he meets political firebrand Christine (Goodbye, First Loves Lola Créton) and senses a kindred spirit. When one of their protests goes wrong and draws police attention, Gilles, Christine and their friends escape to sun-drenched Italy for the summer, where they live a bohemian life drifting between parties, rallies and agit-prop film screenings, discovering that at their age everything is mutable, and life awaits the curious
With this sweeping and evocative story, Assayas with meticulous, living period detail, captures what it was like to have come of age in a generation that was too young to have been on the barricades; he brilliantly depicts its explorations of new lifestyles, morals and influences, and its music, a constant presence that becomes something like the artistic unconscious of an era. Blissfully nostalgic without being at all sentimental, AFTER MAY burns with the tingling passion of youth, when limitless opportunities and uncertainty hold equal sway, and is another must-see from one of world cinemas most vital and influential auteurs.
    

André Marcon

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