Jeune Femme
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Jeune Femme
Jeune Femme review – sparky identity crisis tragicomedy
Laetitia Dosch dazzles in Léonor Serraille’s debut feature as a young Parisian woman struggling to work out who she is
Laetitia Dosch as Paula in the ‘astringently bittersweet’ Jeune Femme. Photograph: Curzon Artificial Eye
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D ynamic screen presence Laetitia Dosch, star of Justine Triet’s Age of Panic , dazzles in this first feature from writer-director Léonor Serraille. It’s a superbly sympathetic and spikily comedic portrait of a young woman on the verge (or “under the influence”), struggling with the recently fractured shards of her personality. Fizzing with nervous energy (she can simultaneously engage and irritate, attract and repel), Dosch’s antiheroine is a wonderfully rounded character, awash with the kind of awkward contradictions so often ironed out on screen. As she pinballs around Paris in search of an identity, she endures a raggedy rite of passage that has been described by Serraille as a “metamorphosis … from a girl into a woman”, from “an object to that of a subject”.
We first meet Dosch’s 31-year-old Paula splitting her head open on a closed door. “You’re a free woman!” she’s told after breaking up with the photographer-professor for whom she was once a muse – although “unmoored” may be a better description. Escaping the doctors who think she’s self-endangering, Paula wanders the streets of “a city that doesn’t like people”. At times she seems like a vagrant: toilet roll in her hair, cat box at her side, scouring rubbish bins for food. Yet, like David Thewlis’s febrile loner in Naked , her homelessness is altogether more existential.
An image of Paula surveying her reflection in a broken mirror neatly encapsulates the tragicomic themes of Serraille’s film. Throughout Jeune Femme (titled Montparnasse Bienvenüe in some territories), Paula adopts different personae as she adapts to her changing environment. Applying for a job in an underwear store, this chaotic character hilariously describes herself as obsessively “tidy” and “calm”. When someone mistakes her for an old schoolfriend, she plays along, happy to be someone else. “Who are you?” she is asked repeatedly, evoking the chameleonic figure at the centre of Barry Jenkins’s Moonlight . Like Kristen Stewart in Olivier Assayas’s Personal Shopper , Dosch’s Paula wears identities like outfits – trying them on to see how well they fit.
Some things are not so flexible. When Paula tells likable security guard Ousmane (Souleymane Seye Ndiaye) that his suit is the wrong size, he replies that “it can be changed. But your eyes are different colours – that can’t be changed.” He’s right: Paula may inhabit different roles, but the eyes through which she views the world (one iris is hazel, the other blue-grey) will always be beautifully mismatched, lending a Bowie-esque air to her alienation.
This is also a story about mothers and daughters, a theme crystallised in a brief channel-surfing moment featuring an iconic scene from Douglas Sirk’s Imitation of Life . In that 1959 film, a mother tells her radically reinvented daughter that she is still “my beautiful, beautiful baby, and I love you so much.” By contrast, Paula’s mum (Nathalie Richard) has barred her daughter from her home. “How come you never tried to find me?” Paula pleads when her mother claims that she left. Yet having blagged a job as a nanny (by pretending to be an art student), Paula develops a maternal bond with her young charge, Lila – a bond that seems to seep through generations. In a film full of mirrored moments, none is more powerful than the sight of Paula’s mother reaching out to touch her estranged daughter’s unruly tresses, chiming with a heartbreaking scene in which Lila lovingly brushes Paula’s hair.
There’s certainly a childlike quality to Paula (“You sounded under 18,” says a potential employer) as she gets knocked down only to get back up again. A soundtrack that juxtaposes jazz and electro captures her dissonant state of mind, romance underscored with a hint of tragedy. Emilie Noblet’s camera is handheld and in-your-face, lending a restless urgency to Paula’s perils as she moves through streets and subways, rooms and apartments. The takes are long but editor Clémence Carré is not afraid to cut to the chase, with jarring sound edits emphasising some jagged ellipses. Framing is crucial too; in one telling shot, Paula’s face is shoved to the bottom left-hand corner of the screen, sidelined in her own movie.
The winner of the Caméra d’Or at last year’s Cannes festival , Serraille’s astringently bittersweet film was made with an all-female key crew, which the director insists wasn’t “a deliberate choice”, merely a gathering of a shared “collective energy”. That energy is tangible; this is a refreshingly invigorating and unvarnished character study, thrumming with anxious life. Bravo!
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French to English: more detail...
noun
unmarried young female
maiden →
demoiselle ; pucelle ; jeune femme ; jeune fille
a young woman or girl
lass →
jeune fille ; fillette ; jeune femme ; demoiselle ; fille
girl, maiden (without sexual experience)
damsel →
demoiselle ; jeune femme ; jeune fille
Your free, fast, and simple translation dictionary
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(2017)
Showing all 11 wins and 14 nominations
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"For its dynamic and astute study of a young woman perennially on the edge in modern society, ... More
"For its dynamic and astute study of a young woman perennially on the edge in modern society, featuring the most memorably vivacious character. A small scale story that finds profundity in sharp specificity, along with comedy in tragedy (and vice versa.)"
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International Competition
Léonor Serraille
Nominee
Un Certain Regard Award
Winner
Prix du jury - French Film Competition
Nominee
New Direction Competition
Nominee
ReelWomenDirect Award for Excellence in Directing by a Woman
Winner
Breakthrough Actress (Prix Révélation Féminine)
Most Promising Actress (Meilleur jeune espoir féminin)
Laetitia Dosch
Best First Film (Meilleur premier film)
Léonor Serraille
(director)
Sandra da Fonseca
(producer)
Best Feature Film
Léonor Serraille
First Feature Competition
Léonor Serraille
Most Promising Actress (Meilleure révélation féminine)
Laetitia Dosch
Best First Film (Meilleur premier film)
Léonor Serraille
Best First Feature
Léonor Serraille
Best First Film
Léonor Serraille
Feature Film
Léonor Serraille
(director)
From Wikipedia, the free encyclopedia
Lætitia Dosch
Souleymane Seye Ndiaye
Léonie Simaga
Nathalie Richard
Erika Sainte
Lilas-Rose Gilberti-Poisot
Audrey Bonnet
23 May 2017 ( 2017-05-23 ) ( Cannes )
1 November 2017 ( 2017-11-01 ) (France)
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Montparnasse Bienvenue ( French : Jeune Femme , lit. 'Young Woman') is a 2017 French comedy-drama film written and directed by Léonor Serraille . It was screened in the Un Certain Regard section at the 70th Cannes Film Festival and won the Caméra d'Or (for Léonor Sérraille). [3] [4] [5]
The film stars Lætitia Dosch as Paula, a woman recently returned to Paris after years living abroad, who is forced to forge a new life for herself after being abruptly dumped by her wealthy boyfriend.
After her wealthy boyfriend Joachim locks her out of their shared apartment, Paula screams to be let back in and is taken to a mental ward. Escaping the ward she returns to Joachim's apartment and discovers he has locked out her cat as well.
Having only recently returned from years abroad in Mexico, Paula has no job and few friends. After quickly exhausting what little money she has, and angering her friends, she turns to the mother she ran away from years earlier, only to be quickly rejected. While riding the subway, she meets a woman, Yuki, who mistakes her for a former classmate. Desperate for help, Paula plays along and allows Yuki to buy her groceries in order to help tide her over.
Paula manages to lie her way into a live-in nanny job she has no qualifications for. She also takes a second job working at a lingerie store at the mall where she befriends Osman, a standoffish security guard who warns her that the women at that store never last long.
Just as things begin to settle for Paula, she begins to hit a series of setbacks. As her relationship with Lila, the child she is nannying, begins to warm up, her relationship with Lila's mother grows colder. Lila's mother makes her get rid of her cat, which she gives to Osman for safekeeping. Paula begins to forget about Joachim, but discovers she is pregnant with his child. Despite her precarious financial situation and her lack of a support system, she contemplates keeping the child.
Paula meets Yuki again and brings her back to her home. Yuki accidentally discovers that Paula is not her former classmate and Paula tearfully apologizes and offers to reimburse her for the money she spent on her. Yuki forgives her and the two have sex. Later, learning from Lila that she is on the verge of being fired, she returns to her mother's house, this time refusing to be sent away and finally reconnecting with her.
Joachim, who has not heard from Paula for sometime, tracks her down to her job in the mall where she tells him she is pregnant. They meet for dinner, where Joachim offers to take care of her and their child. After the dinner, she goes to Osman's house to collect her cat and the two kiss.
Later she goes to meet Joachim to tell him she has decided to have an abortion. Joachim attempts to rape Paula but she successfully fights him off. Paula has the abortion and leaves her nannying job.
On review aggregator website Rotten Tomatoes , the film holds an approval rating of 97%, based on 38 reviews, and an average rating of 7.65/10. [6] On Metacritic , the film has a weighted average score of 76 out of 100, based on 8 critics, indicating "generally favorable reviews". [7]
Deux vieilles MILFs avec une bite
Gonflage de chatte et ramonage de gorge
Une femme qui s'amuse bien