After an incredible (and award-winning) visit to Cannes, Julie (in 12 chapters) finally arrives at the French theatre. After Thelma or Oslo, 31 August , Joachim Trier further perfected his portrait of contemporary Norwegian fine art. But, if he hasn’t given up on the scalpel that sometimes replaces regad, it’s brought on by a new energy returning to us.
Once opened, Trier’s story thwarts the audience’s questions and expectations. Appearing in the center of Renate Reinsve’s frame, in an evening gown, straight, splitting the image of a halo in the sun, immediately expelled from the murky vortex of who knows what the crowd. He reigns there, as an extension of this title announces the score in 12 episodes, when everything in him gradually interferes with the announced program . There was a bubble, an eruption announced, emerging from this fixed shot, and it was immediately confirmed by the volcanic recognition.
July ran. After his studies, after his wishes. Literally. Within minutes, where brilliant shots and syncope editing ideally meet, a vivid vignette emerges: a young woman constantly reconfiguring her desires and ways to achieve them. From medicine to psychology to art practice, he juggles, so much so that the camera seems to struggle to keep up with him, somehow embracing the phenomenal energy that spreads around him. Then came the fateful encounter with Aksel, a cartoonist with somewhat faded glory, but still evoking charisma.
After this refreshing moment, Joachim Trier seems calm, not choosing between romantic comedies, existential quests, and love dramas. However, it is this uncertain dance that will gradually give Julie (in 12 chapters) her wealth and her ever-renewing drive. Our heroine’s tempo marks the time, but not her inner question. An idea that staging adopts a mix of sophistication and soft proof, gradually turning each sequence into a small festival of discovery, is written down in rigorous character studies.
While Julie is trying to find her voice as well as her voice, the cuts allow us to constantly appreciate the state of her research, that she wraps it in a frame, creates a painting within a painting, or sees how much the characters struggle to get out. that. Both the physical and emotional aspects of this story, of course, taint its content and form. A form that pretends to be literary, to further destroy the concept of its chapters, with twists, explorations, and scriptwriting skills, but also moving floors, background movements, which take the pulse of generations without ever judging them.
At a time when we no longer count the more or less lavish, more or less inspired, more or less opportunistic productions, the program of which can be summed up in a catch of shallow questions, doubts, and debates that set a certain mood on fire. , Julie (in 12 chapters) succeeds in the same move to summon and defuse them with an annoying wit.
Let the heroine engage in a drunken contest with an older man to qualify for “neo-feminism”; whether he sees himself signifying the breakdown of his versatility or exploring the doubts of an older colleague, frustrated by the emerging codes of a media-artistic field that cares more than ever about appearances, the director manages to break down barriers and futile debates.
Dealing with a scenario of extraordinary psychological skill, sublimated by an actress with a bewildering palette of play, her performances are capable of producing a multitude of effects and reflections, which are, without a doubt, previously unknown in her filmography. Perhaps more demonstrative than usual, driven by a desire to seduce an audience. Here’s a sort of radical Bridget Jones, who will trade a clamped smile to free tears, conflict’s refusal to grace it, and the sadness of not being turned into a placental turbine by the need to find its meaning. existence.
And Julie fell, got up, accelerated again, thanks to the vivid scene. From the mushroom journey that sent James Wan back to the sandbox, through the frantic race to the hanging kiss, everything here is heart-piercing, to pain, to death. Upheavals, reversals, which however never erase the whirlpool of excitement that the characters go through.
And we, to remain glued, to his thoughts as to his lips, reluctant to flee from the film as after a long night of drinking with an air of love at first sight that reminds us and encourages us to adopt the courage of founder Julie, remitting every day at work.n the battered, but grandiose work of life.