Dir: Valeria Bruni Tedeschi. France/Italy. 2018. 127mins |
Actor-director Valeria Bruni Tedeschi’s reworks familiar territory in her latest comedy drama where she plays a vulnerable woman obsessed with a feckless younger man. This time she adds farce to the histrionics sending herself up as the delightfully dizzy delusional central character. You have to admire her cheekiness in this well-observed but flimsy piece of fun.
At the beginning Anna (Tedeschi) is tottering over a Parisian bridge with her sulky lover Luca (Riccardo Scamarcio), on the way to a cafe. Joining them is a serious be-suited man and a divorce proceedings immediately spring to mind: they are actually attending a film financing meeting where filmmaker Anna freely admits to rehashing her plot when questioned by the team. Considering arch re-hasher Frederick Wiseman is on the panel this comes as a feminist jibe and we actually warm to her, and if you’re a fan of her formula (A Castle in Italy etc) then The Summer House is for you.
The Summer House has the advantage of some seriously sumptuous settings: this time we visit the Cote d’Azur and a gorgeous belle époque Villa surrounded by lavender-scented gardens where her real mother Marisa Borini (resembling her other daughter Carla Bruni) plays her onscreen ma, and the daughter she adopted with Louis Garrel, Oumy Bruni Garrel, is Anna’s daughter – exuding all the saucy sense of entitlement you would expect. Co-scripted by Tedeschi, Agnès de Sacy and Noémie Lvovsky, this upstairs/downstairs affair features the problems of the staff along with those of the guests – although the characterisations are shallow and rather trite – and often descends into implausible farce failing dismally as an attempt to engage us in an exploration of the human condition in all its splendour and desperation.
Bruni Tedeschi’s younger partner Luca does not join them, after hinting at a new romance, so the start of the holiday is blighted by emotional telephone outbursts and the usual melodramatic meltdowns. Anna’s alcoholic sister Elena (Valeria Golino) tries her best in an awful role where she whines and whimpers between drunken episodes as the wife of the villa’s much owner, ageing businessman Jean (Pierre Arditi). Meanwhile, Lvovsky also stars as Anna’s divorced writing partner Nathalie who appears to be recovering from some failed romance in a role that never materialises into anything meaningful.
Ever brimming with hope that her romance with Luca can be reanimated, there is much humour to be had in the way Anna swings from kittenish charisma to snarling witchery, her frustration seething under a well-disguised gamine fluffiness. Tedeschi’s attempt to introduce a sexual molestation strand to the narrative falls on deaf ears – whether this is another jibe on the #metoo theme is left to our individual interpretation. Gorgeous to look at, if mostly exasperating, The Summer House is more of the same fresh air from a familiar face. MT
VENICE FILM FESTIVAL 2018