Bruno Dumont makes use of a French anchorwoman to discover his nation’s media in France, a Cannes Film Festival competitors entry that’s shiny and watchable however in the end disappointing. Léa Seydoux performs France de Meurs, a TV anchorwoman and reporter so well-known that she stopped for selfies in every single place she goes, from cafes to struggle zones. After she is concerned in a site visitors accident, she quits her job and leads to a Swiss spa, however the respite she meets there isn’t fairly what she’d hoped for.
It’s arduous to get a deal with on the supposed tone of France, which darts between political satire, media critique and melodrama with out getting beneath the pores and skin of its central character. She’s not deliciously ruthless like Nicole Kidman in To Die For, or Rene Russo in Nightcrawler; however she’s not sympathetic both, making a sequence of poor and egocentric choices. Had her inside dialogue been explored, this gray space may have made for a powerful character piece. However Dumont’s script stays near the floor, and Seydoux’s sturdy efficiency can solely go to this point.
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Nonetheless, that is actually Seydoux’s most distinctive position on this Cannes, and he or she’s lastly middle stage, not taking part in the horny spouse/girlfriend however the lead character. Seydoux relishes France’s highly effective moments in addition to her weak ones, and the 2 can come shut collectively. After a TV present, she has a panic assault and dissolves into tears, however is swiftly comforted by the promise of a designer gown from her proper hand girl Lou (Blanche Gardin). For as soon as, Seydoux’s character is coloured extra by what she wears than what she doesn’t: in a key love scene, she’s not solely absolutely clothed, however sporting a woolly scarf and hat. Again within the studio and the high-art gothic dwelling she shares with Fred (Benjamin Biolay) and their son, she wears pink lipstick, killer heels, sharp designer clothes, leopard print and leather-based: costume designer Alexandra Charles has had a discipline day.
The scenes with Gardin are by far the movie’s funniest: Lou and France share an in depth bond and ribald humorousness that’s put to hilarious use in an early scene involving footage of French president Emmanuel Macron himself — one which had the French press roaring with laughter on the screening. This comedy briefly remembers the British political satire In The Loop — however the tone quickly shifts once more and an hour in, we’re left questioning the place all that is going. Dumont throws main drama on the display screen, however doesn’t invite us to be moved by it. This begins as an intriguing portrait of fame, however by the point France has been requested for her twentieth selfie, it’s as sporting on the viewers as it’s on her.