Lets Talk About More France Movie

Despite the papal seal of approval from the trash, it is often difficult to pay to the bitter Gallic black comedy “France”, because it begins — and usually continues — as a general examination of the French mass media, but also usually argues over a particular pseudo-media personality. Léa Seydoux plays France de Murs, a Talk show host in search of influence. France thinks she is a journalist, but she is really a fuzzy mosquito and a developing demagogy.

The screenwriter-director Bruno Dumont (“outside Satan”, “Joan of Arc”) never tires of France because she only thinks she has mastered a system of false populist Narratives based on the personality that she has really internalized and thus accepted at its true value. Seydoux’s character struggles to change his self-image after accidentally hitting a motorcyclist with his car. But France was probably already doomed when we met her.

Dumont’s interest in France is generally more ambiguous than strictly critical, but he also does not seem to care enough about the character of Seydoux to actively develop it. He seems to like the idea of France more than anything related to it.

In the opening scenes of “France”, Dumont throws a well of contempt at the anti-heroine of Seydoux, a self-centered media personality who interviews political experts and also inserts himself into human interest stories on his popular TV show. During a press conference, France brazenly asks a politician “The insurgent state of France” if he is simply “careless or powerless”.”He answers her question with exaggerated reverence, as if his celebrity status demands his serious consideration. France and her producer Lou (Blanche Gardin) exchange indecent — and proudly vulgar — gestures like schoolchildren who give up grades without fear of punishment.

Dumont continues to mock France and its protective social/professional bubble by following it first at work and then at home. At work, France evades aggressive experts with the same ease and speed that she stages and develops on-site interview segments so that they can be cut and packaged for her TV show. At home, France surrenders to her son Jo (Gaëtan Amiel) and avoids her jealous husband Fredric (Benjamin Biolay). These two equally loveless worlds inevitably end with a series of tiring episodes that only show how crazy France is because she never thought she was as special as the media.

France is so regularly approached for Selfies and autographs on the spot that she is inevitably dragged away by two men who do not seem interested in her fame. There is Charles Castro (Emanuele Arioli), a Latinist and potential candidate whose motives are so obvious that he becomes much funnier as an ordinary joke (he just won’t!) as a secondary character (but maybe he really likes her!). And then there’s Baptiste (Jawad Zemmar), the mentioned motorcyclist who becomes an uncomfortable object for the French charity (his parents can’t work and he has to fend for himself!).

Dumont keeps reminding us how little he thinks about France. Her main sin is not that she is too good at her job, although that also makes her an obvious target for our contempt. What really makes France a typical Dumont martyr is that she has no idea what her job actually does — and the unusually nuanced and degrading point of view that he asserts is so contemptuous: that the media have made us accept that it is normal to see the world in simplified and friendly terms. France is a product of this system, and it will never really change in the end, because again, he has no idea how to manage it. On the contrary, she will continue to unintentionally belittle her interview subjects and insult her audience simply because she has never really left her sphere of influence, no matter how many personal and public crises threaten France. Alan Partridge, No.

As always, Dumont is an interesting director than the screenwriter, especially when he blocks long enough and keeps a Plan to suggest that there is much more going on than his obnoxious characters on the screen could say, let alone know. Again: spending so much time with France, an always hollow figure, is often exhausting.

The inner workings and qualities of France are only suggested by the typically sensitive performance of Seydoux. After all, whenever France almost sees a potentially unpleasant side of herself, she is distracted by air moderators who keep her confident but oblivious. In an after scene, Lou tries to comfort France by telling her that she is an “icon” and that the symbols are “made of mud”.”This is the solipsistic point that Dumont turns throughout France and with a negligible Variation around France. Theoretically, this kind of self-victimization could be funny; not so much in this reality.

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