Bonjour Tristesse

This is a great escape film for basking in the beauties of the South of France. The color schemes and scenery are blessings to the eye.

Where the film bogs down is in the filler scenes of people dancing together. This dancing and singing device has been overdone since The Bill Chill, where it actually had some relevance. After that, so many films fill up their running time with these interminable dances, which don't add much and seem self-indulgent on the part of the director.

The placid, sleepy rhythm of the film does not propel it forward either. Whereas the Otto Preminger film portrays the emotional turmoil of Cecile's life in crisis, this film moves along in a dreamy pace, ultimately not allowing the viewer to feel deeply for any of the characters.

Finally, the serious pronouncements from the main characters about being in the Now, rushing towards the future, and regretting the past seem like quips from a new age calendar, not true dialog between people.

Nevertheless, I loved the score, the colors, the composition of the scenes, and the depiction of the aimless life that most people cannot afford, and which doesn't bring happiness anyway.

I give this two stars only for the beautiful cinematography and soundtrack.

The rest sounds like characters from one of those stupid American comedies attempting French sophistication. All which comes out is this eternally tired entitled tone which permeates the aforementioned films. Like Britney Spears reading Francoise Sagan.

I'm not even much of a fan of French cinema, therefore this isn't some jealous defence, but simply conveying the pain of having gone through this. The ending is particularly clumsy, missing the opportunity for at least some mystique.

Chloe Sevigny is one of the worst actors ever.

Preminger's film is not a masterpiece, but it's very entertaining. This movie is dour and slow. Claes Bang and Chloe Sevigne usually sparkle; here they are just dull (at least for the first hour and a half).

In the first version, there was a weird frisson between David Niven and Jean Seberg that lent a hint of Greek tragedy to the proceedings. The pair in the new version look like they actually are at a Father Daughter Dinner Dance.

Dad's girlfriend in #1 was adorable teenager Mylene Dumengeot (sp?), here she is a far more appropriate mature woman. So a major plot motive is removed.

Points for lots of beautiful shots of people's hand doing things.

It is a slow moving film. That is the first thing you need to know about it. Part of that problem is a script that is too subtle in parts, and the result is that any invigorating action drains away. Cécile, for example, plots to get her father out of Anne's clutches; yet the attempt doesn't resound in the way that it should. Raymond is, all of a sudden, in love with Anne -- how did that happen?

Another problem arising from the script is the depiction of Elsa. She is, in the novel and in the earlier film adaptation, supposed to be flightly and vain. Not now. She comes across as the most grounded and sincere person in the film, and that throws the entire balance off. How could Raymond (who is supposed to be a playboy but is, here, depicted as a likeable, carefree man) toss her over for the stolid Anne?

And Chloe Sevigny, playing Anne, seems to be doing her best to channel Geraldine Page in Interiors (a part and a movie I loved). She's too old and matronly and clunky for the part. Put her next to Elsa and you wonder what's wrong with Raymond. And there is zero chemistry between the two. Nada. None. I think that Sevigny took the part because Anne is all about fashion and style, as is Sevigny in real life.

These problems aside, it's a lovely film to watch. While the three principals are dull, the supporting cast (Elsa, Cyril, and other minor roles) more than make up for it. The direction is stunning (though, yes, it could have been better edited, if only to move the proceedings along). Perhaps it might be a good idea to watch the original first (though I can't imagine David Niven as being anyone's idea of a playboy).

Greetings again from the darkness. Beauty. It permeates every scene in Durga Chew-Bose's (TINY FURNITURE, 2010) adaptation of the 1954 Francois Sagan novel. The novel was previously adapted for the screen in 1958 by legendary filmmaker Otto Preminger, and this new version assumes a different tone while maintaining the essence of the novel. It should be noted that Sagan was only eighteen years old when her novel was published, adding pertinence to the character of Cecile.

A stunning villa by the stunning rocky cliffs and deep blue water houses the stunning trio of Raymond (Claes Bang, THE NORTHMAN, 2022), his girlftriend Elsa (Nailia Harzound, "Gone for Good"), and his daughter Cecile (a mesmerizing Lily McInerny). Stunning describes most everything here, so repetitive use is allowed. Raymond's wife and Cecile's mother, Sophie, died a dozen years ago, and the teenager (18) and her dad have a close relationship. For a while, we find ourselves asking, "who is the third wheel?". Is it Cecile? Is it Elsa? Could it even be Raymond? Well, while Raymond and the gorgeous and philosophical Elsa make a beautiful couple, Cecile frolics with Cyril (Aliocha Schneider), a charming local boy who makes the perfect summer plaything.

Only nothing is perfect in this world where beauty abounds. Soon, Sophie's long ago best friend, fashion designer Anne (Chloe Sevigny) shows up. Her invitation from Raymond exposes the bond he had with Elsa for what it was, while also disturbing Cecile. Things are quite awkward for a while as Anne's low-key manner can best be described as passive-aggressive, even as she and Raymond grow closer. The simmering conflict between the women is fascinating to watch as it unfolds ... sans any of the overly-dramatic histrionics we've become accustomed to in American relationship movies. These women are sly and clever as they quietly scheme.

Working closely with writer-director Durga Chew-Bose are cinematographer Maximilian Pittner, Costume Designer Miyako Bellizzi, and composer Lesley Barber in capturing the awe-inspiring by-the-sea with a south of France summer look and feel. Early on, Elsa states, "Everything is about listening", which proves true for the characters, but it's highly recommended that viewers also keep their eyes open!

On digital nationwide beginning June 13, 2025.