Mouret’s Romantic Comedy: A Middlebrow Take on Love in Lyon – Venice Fest

“Where do things truly start?” asks the narrator of Emmanuel Mouret’s romantic comedy, “Trois Amies,” a tale of three women and their tangled relationships. Although the film clocks in just under two hours, it feels much longer, akin to a transcontinental flight from Newark to Singapore. The movie weaves a complex web of emotional intricacies that seems to continue indefinitely, perhaps unnecessarily so.

The French are known for their affinity for such films, often directed by big names and featuring famous friends. These ensemble pieces vary in charm from the cheerful, like Julie Delpy’s “Skylab” (2011), to the insufferable, such as Guillaume Canet’s “Little White Lies” (2011). “Trois Amies” lands somewhere in between, making its inclusion in the main competition at the Venice Film Festival somewhat perplexing.

The story unfolds in Lyon, with the narrator providing a guided tour of local landmarks, dubbing the city the “main setting of this story.” The first scene features a teacher on his initial day at a new school, where he meets various colleagues. “He’s shaking a lot of hands,” the narrator explains, “because he is new. He is here to replace me.” The narrative then rewinds a year, revealing the narrator as Victor, the husband of Joan, a teacher played by the aptly named India Hair.

Joan has two best friends: Alice, a fellow teacher, and Rebecca, who works in a museum to indulge her artistic passions. Alice is married to Eric, and Rebecca is secretly involved with him. The story kicks off when Joan confesses to Alice that she has fallen out of love with Victor. Alice reprimands Joan, claiming her own relationship with Eric is purely platonic. Neither Joan nor Alice knows about Rebecca’s affair with Eric, who contemplates leaving Alice due to his guilt.

At home, Joan breaks the news to Victor, leaving him stunned. Victor suspects that Joan’s additional teaching duties are clouding her judgment. He promises to be more distant and less clingy, words that provide little comfort. Tensions escalate when Victor, after a night of drinking, attempts to drive home and ends up in the morgue. Victor narrates the rest of the movie from the afterlife, adding a ghostly presence to the story.

The French have a history of creating poignant films about love, like Max Ophüls’ “La Ronde.” However, “Trois Amies” disappoints, reminiscent of the later, less impressive works of Alain Resnais influenced by British playwright Alan Ayckbourn. The narrative grows absurd as Alice dreams of a phone number, calls it, and falls for a famous painter, whose mediocre works resemble thrift store art. Encouraged by Rebecca, Alice pursues this new love interest, allowing Rebecca more time with Eric. Meanwhile, Joan’s new colleague develops feelings for her, but Joan’s emotional entanglement with Victor impedes any reciprocation.

Fans of French cinema might find some merit in the film, though the male characters lack distinction. Meanwhile, the women characters, though verbose, fare better despite their underwritten roles. The men, portrayed as uninspired and shabby, blend into one another, their drab wardrobe offering minimal challenge to the costume designer.

Mia Hansen-Løve could likely craft a superior film effortlessly, painting sympathetic but relatable portraits of the petite bourgeoisie. “Trois Amies,” by contrast, is a soul-draining soap opera that one might prefer to forget long before it concludes.

Title: Trois Amies
Festival: Venice (Competition)
Director: Emmanuel Mouret
Screenwriters: Emmanuel Mouret, Carmen Leroi
Cast: Camille Cottin, Sara Forestier, India Hair, Grégoire Ludig, Damien Bonnard, Vincent Macaigne, Éric Caravaca
Sales Agent: Pyramide International
Running Time: 1 hr 58 mins

Source: Particle News