“A PRIVATE LIFE”
Among hundreds of films that were showcased at TIFF50, I intuitively put “A Private Life” (Vie privée) on top of my list, not only because its lead star is the multi-awarded actress and director Jodie Foster; I was, in fact, looking forward to watching her speak full French during the entirety of the film. Indeed, after watching director and writer Rebecca Zlotowski’s film, it was all plaudits and astonishment on how Foster articulately delivered her dialogue throughout the film while pitting her acting prowess against veteran French actors Daniel Auteuil, Aurore Clement, Mathieu Amalric, Virginie Efira, and Vincent Lacoste. Once again, Foster is back in her finest element.
“A Private Life” is a French black comedy mystery thriller which had its North American premiere during TIFF’s 50th edition. Foster plays Lilian, a psychoanalyst who is embroiled in a bizarre state of affairs that would test her psychoanalytical acumen. One of her long-time clients passed on under a cloud of mystery and doubt. As she extends her sympathy to the deceased’s next-of-kin, she endures embarassment with their anger and blame. She is bombarded by the family with extreme culpability because she is the person the deceased often sees, always privy with her personal struggles during those frequent long sessions. Armed only with determination to prove her innocence and clear her name by finding the culprit, Lilian embarks on her own secret pursuit to gather evidence, unwittingly exposing herself and the people she loves to some degree of peril.
The restrained relationship between Lilian, her son, and grandson are well depicted through an implicit yet powerful exchange of conversations during their few brief encounters. It has become evident that Lilian herself is dealing with her own personal matters. Zlotowski particularly orchestrated a scene during a concert where it depicts the characters in a Freudian undertone using the style of Fellini. Establishing it as a dream sequence, she pivots the camera towards Lilian herself, scrutinizing her inner predicament through an outlandish interplay of characters.
Although the filmmaker’s artistic goal in this scene was well meaning given the genre; this, in some way, backfired in a dissonance. Zlotowski tapped this particular approach in a single scene, making it detached and jarring from the rest of the scenes. Just like an adagio, if she had applied this Freudian/Fellini style unhurriedly from beginning to end, the scenes would have been clearly interconnected and the film cohesive.
One should have a grasp with the French humour in order to appreciate this film. When it was shown at Cannes film festival, it was given a ten-minute standing ovation from the audience. Judging by the response while watching this film, the impact of the humour was well received by the Toronto audience. It was a mix of French-speaking cinephiles who may have travelled from different parts of the globe. Sprinkled with a dose of comedic dialogue and situations in between her obscure quest, Foster breezes her cerebral role in this movie with flawlessness and expertise.
To watch Foster spew a full French accent in this film may come as a shock to many; but her young academic life can attest to such mastery. She was enrolled by her mother at a young age to study the French language at a French prep school in Los Angeles. Her fluency was in full display when she delivered her valedictory address in French during graduation. Foster then earned a degree in African-American Literature from Yale University and graduated magna cum laude.
On our red carpet interview with Foster during the film’s TIFF50 gala presentation at Roy Thomson Hall in Toronto, I asked about her view as an actress regarding the importance of being bilingual, given the impressive role she portrayed on this French movie. She remarked with a well-versed answer by saying that, …”Yes, I do think it’s important though for actors to have a wider landscape than their small bubble, their sort of small Hollywood bubble. So whatever that means, travelling, learning things, going to school, all of that, I think comes in handy.”
She also acknowledged her mother for enrolling her in French school. …”It’s one of the greatest joys I was given in my life… She put me in a French school when I was nine. Any later than that, is pretty difficult to be perfectly bilingual, so that was a gift… I think for me, it’s like being able to play the piano, it’s something that is just a gift that’s been given to you so that you can connect with other cultures…”
Foster is a celebrated actress and director whose filmography includes two Academy awards for her role in “The Accused” and “The Silence of the Lambs”; five Golden Globes, Cannes Honorary Palm d’Or, three BAFTAs, Primetime Emmy, Screen Actors Guild, and Cecile B. De Mille Award. At age 12, she was nominated for the first time as Best Supporting Actress for the Oscars when she took the role in “Taxi Driver” opposite Robert De Niro.
Foster’s recent accolade is “Share Her Journey Groundbreaker Award” given during TIFF50. She is recognized for her vast contribution over the years, both as an actress and a director, in paving the way for women in film. After receiving a warm standing ovation, Foster said in her speech that “…it has been a very long life in the movies, 60 years… and I still love movies… and I love all of it… and I love coming to Toronto and going to TIFF and engaging with all these people that love films.” With these words, undoubtedly, there is no stopping Jodie Foster to continue acting and/or directing films anytime soon that will certainly find its way to TIFF. ####