Dir.: Marie-Castielle Mention-Schaar; Cast: Noémie Merlant, Soko, Vincent Dedienne, Anne Loiret; France 2020, 108 min.
This trans fertility threesome is not as good as it could have been despite an impressive second performance from Portrait of a Lady on Fire’s Noémie Merlant who here plays a cis woman in the throes of becoming a trans man .
Marie-Castielle Mention-Schaar produces, writes and directs her follow up to Le ciel attendra (Heaven Will Wait) reuniting her with Merlant who as Benjamin agrees to interrupt his sex reassignment surgery in order to carry and birth the child his partner Aude wants so badly but cannot carry to full term.
Aude (Soko) lives with the community nurse in the village of Groix on an island off the Brittany coast. They have moved here from Aix-en-Provence, where Aude was a successful ballet dancer. One of the many flashback scenes pictures the couple on their first date when Benjamin was still Sarah. They have now been together for six years and want to cement their relationship with a child. In other flashbacks, Benjamin’s mother Eve (Loiret) complains about not having a real daughter “I could not even talk to her”. His brother Antoine (Dedienne) is married with a child and also has a poor relationship with Benjamin.
Ben is not secure in his changing physical status, and does not allow Aude to see him in the bath. He claims his old self, Sarah, could never had a child due to body dysmorphia. And while Benjamin gradually adjusts to his status as a pregnant mother, Aude feels, rightfully, left out: she has given up a great career, and now the mother role she craved so much is also taken away from her – albeit by a caring Benjamin.
This creates a double-bind, but instead of evaluating her misery the director simply writes her out of the script only to bring her back at the very end of the feature as an afterthought. She is not the only under-explored character: many of Benjamin’s patients find his pregnancy rather odd, but in the end they all come around to it – as if by magic. Benjamin himself always occupies the centre stage but is only fragmentarily explored: we see more reaction from the outside than from his own point of view; apart from one outburst against Aude when he gets his revised birth certificate. This makes A Good Man difficult to engage with – surprising for a feature stuffed with such explosive emotions.
DoP Myriam Vinocour’s claustrophobic camerawork fails to reflect the wild beauty of the island setting that added so much allure to Portrait of a Lady on Fire. Life for the couple seems so restrictive, even though Benjamin gets around a lot visiting his patients. But the main downside to this complex drama is its fractured narrative: few features succeed in integrating so many flashbacks – and A Good Man is no exception. This is still a worthwhile experience that makes a brave effort to explore complex gender roles in today’s every-changing world. AS
TORONTO FILM FESTIVAL 2020