As distinct from other European countries, French Cinema has a strong presence in the United States, as evidenced by many French films and, to a lesser extent, French series, found in major and minor streaming services. The French presence is also maintained by the close to fifty French film festivals in North America with the extensive  support from French governmental institutions that consider French cinema as a crucial part of French culture. Compared to France, the German global film market  is minuscule and seems to be limited to Goethe Institute initiatives. Production support by major streaming services has certainly helped to make French and German films and series more accessible. Netflix funding for French speaking markets increased by $45 million this year and by $50 million for German speaking markets covering the next two years. What is essential is the role of Unifrance, the co-sponsor of the 2022 Rendez-Vous with French Cinema. As a central well-funded French film organization, Unifrance has been promoting French film and television globally since 1949. In 2021, French film exports generated $104 million, with China becoming the leading market for French productions. By mid-July 2021 French productions accounted for 2,900 titles on 81 platforms in 48 territories. The streaming share of French productions increased from 2.4% in 2019 to 4.8% in 2021. In the United States, 1,190 French films were available on 26 platforms. About 20 percent of the productions selected for the ten most important international filmfestivals were French.  Unifrance’s global marketing success is facilitated by financial backing from the French government and related agencies,  private partners, and close cooperation with more than 1,000 French media professionals and companies.

From March 3-13, Unifrance and Film at Lincoln Center presented the 27^th edition of  Rendez-Vous with French  Cinema, co-sponsored by TV5 Monde, The Taub family, AFC, FIA and support from the National Endowment Arts and New York State agencies. The program included 17 French films and 7 French co-productions from 2021 and 2022 screened at the Lincoln Center’s Walter Read Theater. As part of the Rendez-Vous program, there were three free live panels. Claire Denis and Jim Jarmusch spoke about their careers. Juliette Binoche and Deborah Lukumuena discussed their priorities for new projects and links to the American film industry. A final panel covered the essential role of cinematography for French and American filmmakers. Two free screenings were arranged for high school and college students with the participation of director Emilie Carpentier. The third annual Rendez-Vous Audience Award was given to Cedric Klapisch for RISE. With the participation of several college students from film and French studies programs as jury members, Charline Bourgeois-Tacquet received the inaugural Best Emerging Filmmaker Award  for her ANAIS IN LOVE. This new award celebrates the unique cinematic presentation of France’s new and diverse identities. Compared to some Rendez-Vous programs I attended several years ago, the 2022 edition had a broader thematic orientation, included more artistically compelling features, and provided an articulate understanding of past and current French cultural and social issues. 

Among the outstanding productions were LOST ILLUSIONS, a superb adaptation by Xavier Giannoli of Honore de Balzac’s La Condition Humaine novel into a captivating masterpiece of a realistic and convincing film production. It faithfully mirrors the social, cultural, and political conditions of early 19^th century France and Paris, emphasizing the rise and impact of the print media. In the provincial countryside, Lucien de Rubempre, compellingly portrayed by Benjamin Voisin, the sensitive, attractive young poet from  humble origins gains support and affection from a beautiful married member of the aristocracy.  In 1821, Lucien is forced to leave for Paris once his affair is discovered by the husband. In Paris, Lucien uses any means available to overcome his background, opting for a career in journalism to gain entry to the aristocratic establishment. In this relatively new press universe false information is paramount. Reviews of books and theatrical productions, as well as defaming stories, are bought by the highest bidder. Money determines the status of writers, producers, actors, and those holding or aspiring political power. As in our times, the Paris of 200 years ago is plagued by the widespread manipulation of information. Conveying truthful information to the public was not an objective for the journalists or the printed press. Deception of the public, the enrichment of the writers and owners of rag sheet publications, and their business funders, is the guiding rational. In this milieu, Gerard Depardieu superbly depicts a press manager expediting the lucrative delivery of fake news. In this environment Lucien must sacrifice his artistic aspirations and sensitivity. Becoming part of the aristocracy and erasing his common origin also would require that Lucien have a command of the cultural accoutrements of the nobility. Lack of knowledge about aristocratic intrigues cannot be bought, or at the very least Lucien lacks the necessary means. In the end, Lucien is rejected,   impoverished, and left with no options other than returning to his humble countryside origins.

First shown at the Cannes 2021 festival in the sidebar Premieres, Arnaud Desplechin’s DECEPTION is an excellent adaptation of Philip Roth’s innovative 1990 novel. The novel provides the base for the feature, and both works seem to be neglected and underrated. Roth provides a semibiographical account of his writer’s life, depicted mostly in quotes, faithfully recording his and his female paramours’ articulations. There is little space given for actions or non-verbal descriptions to provide context to the large number of monologues, dialogues, and interrogations in Roth’s book. They provide the center for Desplechin’s film. Communication and words prevail in both as does the self-referential status of Philip Roth. Borrowing the author’s first name, Philip, played by Denis Podalydes, is a middle aged American writer living in London in a relationship with an English companion half his age who is also married. His nameless partner is portrayed by Lea Seydoux. They spend most of their time conversing about Philp’s  past relations, obsessions with Jewish questions, her dysfunctional marriage,  Philip’s other intimate adventures,  and having some sex in his workspace and study. They share an affectionate relationship, though both seem to agree that verbal exchanges and obsession with the exploratory power of language are the driving animus of Philip. The women in his writing are more real to him once immured in his words than when first encountered. Kissing them in imagined sentences transcend any actual personal contact.  There are few vignettes outside the theatrical studio space both inhabit. Philip visits former female companions, carefully recording and collecting their memories as new material for another book. Towards the end of DECEPTION, Philip’s wife articulates her criticism of their life. Having read his notebook, she accuses him furiously of betrayal and dishonesty. Philip counters in a line by line critical  explanation, maintaining that his writings are reflections of his imagination, and not real experiences. In a mock trial with only women present, Philip is accused by the prosecutor of defaming and abusing women. He readily admits having affairs, including some with his students, but disputes any abuse. In a spirited exchange with the prosecutor, he expresses his desire to have sex with her.

Rendez-Vous of French Cinema 2022 opened with FIRE, Claire Denis semi-romantic feature about a couple that cannot escape the shadows of their past relationships. Juliette Binoche plays Sara, working as a radio journalist, with Vincent Lindon starring as her husband Jean, an unemployed homemaker. In subdued domesticity, the couple seems to lead a normal existence. Jean has a problematic teenage son from a prior marriage living with his mother outside the city whom he tries to take care of. Jean had a career in sports and served a prison sentence before marrying Sara who now supports him. Their harmonious and calm co-existence is suddenly ruptured. Sara unexpectedly spots her former lover, Francois, played by Gregoire Colin. Francois was Jean’s close friend and business partner whom she left to be with Jean. Jean and Sara’s seemingly harmonious existence implodes once Sara starts interacting with Francois again. A complicated relation triangle emerges. Memories erupt and burden the possible present. Rational discourse is made even more difficult by Jean starting a new business partnership with Francois. The story segments and disputes accelerate with unmoored encounters and communicative failures. Jean is obsessed by the idea of Sara replaying her past with Francois. Sara cannot disregard the stoic existence she has been sharing with Jean and disassociate from that past at the same time. Francois is left dangling by Sara. In a spirited exchange with his wife, Jean seems to be willing to compromise but grabs his suitcase and leaves. Sara, taking a bath, drops her cellphone into the tub and loses all her recorded memories. With Sara’s apparent loss of her memories of the past, all involved seem to be forced to step towards new lives.

New York , Claus Mueller

filmexchange@gmail.com