Louis Garrel plays his grandfather in film directed by his father and also featuring his sister
JEALOUSY (LA JALOUSIE) (Philippe Garrel, 2013)
Film Society of Lincoln Center, Francesca Beale Theater, Walter Reade Theater
144 & 165 West 65th St. between Broadway & Amsterdam Ave.
August 15-28
212-875-5601
www.filmlinc.com
www.distribfilms.com
Nearly fifty years after the release of his first film, the short Les enfants désaccordés, post-New Wave auteur Philippe Garrel has made one of his most intimate and personal works, the deeply sensitive drama Jealousy. Garrel’s son, Louis, who has previously appeared in his father’s Regular Lovers, Frontier of the Dawn, and A Burning Hot Summer, stars as Louis, a character based on Garrel’s own father, essentially playing his own grandfather. As the film opens, Louis, an actor, is leaving his wife, Clothilde (Rebecca Convenant), for another woman, Claudia (Anna Mouglalis). A talented but unsuccessful actress, Claudia immediately bonds with Louis’s young daughter, Charlotte (Olga Milshtein). But soon jealousies of all kinds — professional, romantic, maternal, paternal, residential, and financial — affect all the characters’ desires to find happiness in life.
Philippe Garrel on the set of JEALOUSY
Shot in widescreen black-and-white by Belgian cinematographer Willy Kurant, who has photographed such films as Jean-Luc Godard’s Masculin Féminin, Agnès Varda’s Les creatures, and Maurice Pialat’s À nos amours during his glorious career, Jealousy is a subtle meditation on the many fears that can accompany love. Somewhat of an innocent, Louis doesn’t yet realize the consequences of his actions, thinking that he can slide through life and good things will just happen. But as his love for the secretive Claudia grows, so do the problems they all encounter. Philippe Garrel wrote the film, which is divided into two sections, titled “I Kept the Angels” and “Sparks in a Powder Keg,” with three collaborators, Caroline Deruas, Arlette Langmann, and Marc Cholodenko, who each took on different scenes, resulting in a choppiness that can be off-putting and disorienting at times, but the strong performances (featuring significant improvisation), tender pacing, quiet interludes, and melancholic score by Jean-Louis Aubert overcome that drawback. The film is very much a family affair — in addition to Philippe directing his son playing Philippe’s father, Philippe’s daughter, Esther Garrel, plays Louis’s sister — adding to the poignancy and intimacy of this very moving story.
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