Venice 2024 (Orizzonti): My Everything (by Anne-Sophie Bailly) | Review
Laure Calamy returns to Venice Orizzonti centering on motherhood once again after À plein temps (2021). This time, she is filled with a different set of hindrances in an emotionally resonant and awareness-filled drama directed by Anne-Sophie Bailly.
Laure Calamy and her selection of introspective films represent a body of work that can captivate even novice film enthusiasts. To begin with, I have always viewed Laure Calamy as the “French Olivia Colman,” exuding a presence that enthralls the screen and draws us in. There’s something robust in her ability to keep the momentum of a film flowing like the Amazon River, with no obstacles in the way. Whether portraying a humorous woman in Antoinette dans les Cévennes or a diligent mother seeking stability in À plein temps, Laure Calamy consistently brings excellence to French cinema. This year, she returns to the Orizzonti section, portraying a mother navigating complex issues in My Everything (Mon inséparable).
Single mom Mona is an affectionate mother. She has a loving relationship with her adult son, Joël (Charles Peccia Galletto), who is disabled yet capable of carrying out daily life activities independently. Joël, in his early 30s and exploring infatuations and attraction, develops a mutual love relationship with Océane, who is also disabled and works in the same specialized facility. A moment of truth arises when Océane announces her pregnancy, causing a significant rift between mother and son.
The film presents a scenario that provokes difficult judgments and questions about the gravity of the situation, given the specific circumstances. There is a presumed risk that the entire process could result in a serious blunder, raising concerns about societal attitudes and the social ethos surrounding individuals with special needs. Director Anne-Sophie Bailly examines both sides of the situation: the children exploring desire and discretion, while the parents hold on to their responsibilities and sense of assurance. This results in a mosaic of diverse perspectives that merge into various stages of concern, all while maintaining a strong focus on individual liberty.
Mona’s situation is a roller-coaster ride, as multiple setbacks cling to her, entangling her in their grip. We witness her standing on a fragile precipice, balancing the responsibility of being an attentive mother with the slow progress of her personal love life. Anne-Sophie Bailly directs our attention to a crucial point: Mona’s delicate endurance of the hindrances and difficulties that have taken a toll on her for years, where a single problem could prove catastrophic. Here, Mona presents herself in dual modes: either applying her self-control and endurance in a subtle way or losing control completely, which I believe brought Laure Calamy’s stellar performance to its peak. Looking at Joël, he subtly reminds us of the importance of allowing disabled adults to make rational decisions about their own lives, even when the matter is serious.
The protagonists’ shortcomings are interspersed with many discoveries. The film raises questions about the relevance of parental intervention in private matters, reflecting an ambiguous form of guidance in an era striving for positive change. What’s fascinating is the director’s attempt to raise essential awareness through a series of thought-provoking realities. The depiction of current societal expectations of mothers—where those who take a momentary break from motherhood to focus on themselves are often viewed as ignominious—delves deeper into the limitations placed on mothers, their capacity to manage a carefree life, the importance of freedom for the body and mind, the strain on mental health, and the ability to handle every obstacle with appropriate solutions.
Mon inséparable is a kaleidoscopic view of the testament of love between mother and son, as well as the moral complexities inherent in their respective roles. Tolerance, effort, and compassion form the foundation of a family, encompassing both the boons and the banes. It is vital to appreciate director Anne-Sophie Bailly, who addresses complex yet significant matters with poignant clarity. As for Mona, Joël, and even Océane, the care that resides within them shines like bright sunlight when it needs to, and we will all witness it at the right time.
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