The editor’s note: This review was originally published during Toronto International 2024 Film Festival. Greenwich Entertainment emissions ”Hello sorrow“In selected theaters on May 2, 2025.
The German language can get plenty of admiration for its ability to formulate complicated feelings and things (we are in part bakingwhich basically translates into “a face begging to be smelled”), but not a discount French for its similar refinement. Consider sorrowwhich translates into “sadness, gloom, dolefulness, sadness, gloom,” and the like, but definitely sounds better than just “sadness.” It sounds chic, blinking, so French. Hi, sadness? Oh La Indoed!
Such is the title of Françoise Sagan’s novel from 1954 – written when the author was only 18, and thus perfect Age to write a story literally called “Hello, grief” and by both a previous (very good) Otto Preminger-directed adaptation and Durga chew-bose’s smart new spin on history. While remakes can feel, in nature, as the worst type of regress (not to say anything about Rotersing of things first made in another medium), Chew-bose’s directorial debut is a sharp offer that contributes to the mystery of the original material and makes a strong case for its own existence.
Chew-bose’s power lies in her patience, as her script is not at all afraid to calm her audience to a state of not really boredom, but at least Ennui (The French! Again!) Before Oh-so carefully direct us to a much more shocking and ultimately satisfactory space. While much of the film seems to be filtered through memory (and later regret), the emotions in their heart slowly click in place during the movie. The lessons too.
Cecile (“Palm trees and power lines” Standout Lily Mcinerny) is its summer away in a fairly amazing way: at her father’s Luxe French beach house, where her days are spent in the burning with the stylish neighbor Cyril (Alicha Schneider) and her nights are devoted to banal jobs with her advanced father Raymond (Claes Bang). Cécile’s mother (and Raymond’s wife) died 12 years ago, but it doesn’t really seem to bother any of them, because Elsa rightly notice that both are “very good at spending time.” Not always wise, either, but expenditure the? You know that.
Not much happens to Cécile or Cyril or Raymond or Elsa, who all seem a little too obsessed with not doing anything, but glamorous and being recognized for it. They all like to look at each other, at themselves, but only in the most short -term ways. Nobody thinks too hard about any of this – why should they? It’s summer! – And there seems to be no reason to change. What happens when the holiday is over? No one thinks about it. At all.
Most often it feels like a memory-as if we are trapped in a photo album of what Cécile happens to remember from that summer, a Mish-mash of delightful hazy moments and stilt, manned lines. Chew-bose lean strongly on not only the look of this season, all wonderful light and perfect framing, but also its sound. Butter that scratches a piece of toast. A knife that cuts clean through an apple. A smacking kiss. It doesn’t feel really real, and it doesn’t feel connected on a stage on stage. That is what has driven into Cécile’s mind, which we suspect is quite empty.
And then Anne (Chloë Sevigny) arrive. What we originally can suspect is just another gem in a long string of lush, wonderful memories instead becomes more a knot. We know plenty of Anne before she arrives: She was best friends with Cécile’s mother, she might have had a little with Raymond, and oh, the three used to have so much fun together. Anne, all the serious, drawn buns and sharp clothes, does not seem to have much fun anymore, and her arrival at Strandhuset quickly becomes much more full than anything that has happened during the intermediate weeks.
Cécile is not stupid, but she is stupid – a nice distinction that Mcinerny, which is excellent in the role, is skilled at navigating – and when Anne’s influence on her happy home life takes a turn, the teen is forced to make some changes. Especially (and, Truthfully), it does not include a sudden maturity or takes a greater interest in her responsibility (Anne’s suggestion may want to study more before returning to school is greeted with contempt and mockery), but when she changed wildly and cooking a questionable plan to do away with Anne and get things back to what was there before her arrival.
While the story’s novel was written more than half a century ago (and Premering’s film followed just four years later), not much has changed since the advent of “Bonjour Tredesse” until now, at least when it comes to the clumsy, crazy emotional landscape of being a spoiled teenage girl. For the audience who are familiar with the story, where Cécile and Anne end up will not surprise, but beginners are likely to be shocked by the strength of Cécile’s teenage self -absorption. However, how could they be?
In one of her rare moments of self -reflection, Cécile complains to Cyril that her equally cunning and awesome plan to free her and Raymond’s life by Anne feels like “married” inside her. But was it always there? Or can she still find a way to get it out? Chew-bose offers a sharp coda to what is developing, while it makes it clear that Cécile has still failed to understand life a truism that we can actually never say goodbye to: We are just ourselves. No one grows out of it.
Rating: B.
“Bonjour Tredesse” premiered at the Toronto International Film Festival 2024. Greenwich Entertainment releases the film May 2 2025.
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