Venice 2024 (Orizzonti): L’Attachement (by Carine Tardieu) | Review
Orizzonti section’s love for family drama is further evidenced by Carine Tardieu’s take on nuanced family dynamics and soulful connections in a spiral of comedic complications.
The Orizzonti selection of the 81st Venice Film Festival exclaims with the slogan: “We love family dramas!” From Familia by Francesco Costabile to Quiet Life by Alexandros Avranas and My Everything by Anne-Sophie Bailly, witnessing the variances in family ties has been quite intriguing. Included in the lineup is L’attachement, directed by Carine Tardieu, offering a plethora of enticing bonds to titillate our senses.
The novel adaptation of Alice Ferney’s L’intimité is handled with intuition, gradually leading us to an awakening. We are introduced to Sandra (Valeria Bruni Tedeschi), a feminist librarian who believes in the excellence of solidarity, where her relationship with her books and literature has bestowed her with happiness and contentment. She is the neighbor of a family of three (about to turn four), where Alex, Cécile, and their son Elliott live together. On a regular day, Elliott is sent to Sandra’s home for temporary caregiving, a situation she reluctantly accepts. Saddened news of Cécile’s death upon giving birth to Lucille arrives at the doors of both Sandra and the family, altering the trajectory of their lives in substantial ways.
Relationship guru and director Carine Tardieu (director of the 2017 film Just to Be Sure and the 2021 film The Young Lovers) has always been a creator who looks at connections from a different lens, focusing on the oddballs that never get to be felt and seen. Think of her technique as similar to how Noah Baumbach incorporates comedic elements into family dynamics in his works, using humor to highlight core family values. Carine Tardieu skillfully manipulates three central characters, each enmeshed in a maze of confusion, as they strive to uncover their buried emotions. Sandra exudes an empowering feminist energy that gracefully confronts patriarchy in all its forms. The director deftly centers her views on women through Sandra, making room for feminists at a transformative period, discussing women’s enlarged social responsibilities, the appropriate opposition to neo-feminism, and the challenges faced in upholding its principles. At times, her philosophical conversations resemble Nuri Ceylan‘s in Winter Sleep, aligning Sandra as an advocate. However, Sandra is frequently seen to be on the other side of the fence, forming a twist on a principle-ruled woman dealing with the foundations of a family. It’s a game of possibilities, a “what if” approach that intertwines with Sandra’s potential to look beyond her current way of life, seeking acceptance or rejection of a new structure that may conflict with her visions and aspirations. Valeria Bruni Tedeschi reminds one of actress Annette Bening with her steadfast performance that mesmerizes the screen, while her sudden laughs and smirks carry a different message each time.
Elliott lives up to the line, “Kids say the darndest things.” His insatiable quest for exploring the world and his forthright, brutally honest opinions are rejuvenating. We witness his ability to engage in mature conversations that connect us more to his personality than to those of any of our peers, much like Rohan Chand in Bad Words. Elliott’s innocence sometimes lingers within him, which endears him to Sandra. As for Alex (Pio Marmaï), Elliott’s stepdad, grief has deepened to depression and guilt over his past decisions. There is a sense of instability within him, as love, attraction, and acceptance continually swirl around his decisions, prompting him to seek answers amidst the cycle of moving on and discovering a reason. We also have Emilia (Vimala Pons) joining the family as Alex’s love interest, which adds another layer to the concept of motherhood; she enthusiastically embraces this role yet learns a bunch of truths from unexpected corners.
The English title of the film, The Ties That Bind Us, gradually redefines the construct of a family—the roles of parents, guardians, and advisors are not bound by flesh and blood, but what matters is the warmth and disposition of care and endearment. Despite their differences and the roles they play, these individuals have a concealed affection that helps them stand resilient for what’s essential for the family. The film transcends emotional boundaries, delving into intricate relationships and profound breakthroughs. Carine Tardieu’s refreshingly unique use of humor as a tool to explore themes of acceptance, responsibility, destiny, and the healing effects of affection is commendable.
Beyond the meaningful conversations through transparent mirrors and walled-up apartment rooms, the timeline of showing the progress of the family through Lucille’s growth in months and years captivates, leading to the question: Perhaps it’s a new dawn, a new day, and a new birth of life for everyone?
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