A film where nothing happens, and everything happens. An unhurried look at the minutiae of gradual changes that come with advancing age - relationships, work, children - while letting its characters spew forth on the purpose of philosophy in the modern age: it's macro vs. micro. Cat metaphors abound (plus ça change), and Huppert is both stoic and vulnerable.
Yet another philosophy teacher in French cinema, but this time she feels a lot more genuine than usually (thanks to Huppert, I’m sure). The philosophical ponderings are as superficial as they tend to be in the movies, but they make a nice background noise for the falling apart of the philosophy teacher’s life - which isn’t as dramatic as it might sound. There might be a lesson to be learned.
El Porvenir (L´avenir), la nueva película de Mia Hansen-Love, acerca un análisis filosófico y vivo de la crisis personal de una mujer entrada en edad, al perder el vínculo con su marido, sus hijos, su madre, su éxito intelectual. De la estructurada rutina al vacío, del vacío a la libertad, y su resignificación. La constante pregunta que ronda en Nathalie de inicio a fin. ¿Quién soy? mientras suena "Time goes by".
I loved watching Isabelle Huppert in this film. I don't think I would have liked it at all without her! Things To Come has more nuance than substance, but I could watch Isabelle stare into space forever. She is up on top of my list of favorite actors of all time, along with Paul Newman, Barbara Stanwyck, Jean Gabin and Lon Chaney. These are the kind of actors who make what might have been a so-so film a great one!
An excellent return to form and the high bar set by her first film The Father of My Children. Huppert is indeed fantastic to watch here and although half of French acting just seems to be about moving quickly she brings such a presence and depth of character that it's impossible not to feel for her. 4 stars
Oddly at home at the French Film Fest playing middle of the road imports, which is not to say we don't see talent behind the lens. Love always points and moves the camera for maximum psychological empathy, and it's the main reminder this is the work of an auteur. The material feels restless, boring but calming, the external not rivalling the internal. Life will have surprises, and creeps love Kiarostami etc.
It's hard not to like this movie, especially in view of Huppert's presence (she is above performance at this stage - one of the people I could watch in anything). Yet there is something amiss in the film as a whole: it presents a rather banal, not to say cliche story. it has all the tropes common to French cinema: the young radical, the blase husband, the spirited children. and it mistakes name-dropping with depth...
I think I still need some time to process this film, but for now I have to say what seems so simple its so thoughtfully made. A coming of age from a middle life point of view and the message that change is good. I am beginning to think that Mia Hanse-Love has still a lot to give and I am genuinely excited for her films to come.