Tag Archives: Isabelle Huppert

55TH NYFF: MADAME HYDE

MADAME HYDE

France
Director: Serge Bozon
Runtime: 91 minutes
Language: French

Mostlyindies’ grading: A–

I doubt that Isabelle Huppert will ever repeat the same kind of powerhouse performance like the one she turned in a year ago in Paul Verhoeven’s rape-comedy-mystery Elle (a movie that was one of my top five of last year). That picture gave Huppert a role actresses unafraid to push the boundaries of their own selves would die for: a woman who, despite having gone through a horrific assault, still managed to come out on top and assert her dominance in the most unusual way possible. She returns to the 55th New York Film Festival with a completely different performance altogether.

In Serge Bozon’s newest film, a novel approach to the Robert Louis Stevenson horror novella The Strange Case of Dr Jekyll and Mr Hyde, Huppert plays Mme. Gequil, a woman that is basically living in abject fear (of what, we don’t know). Her home life is a quiet shambles as her husband (Jose Garcia) treats her with a certain condescension while he focuses on his composing. Her school life fares no better as students openly dismiss and mock her while she teaches and a colleague (Romain Duris), decked in outfits that resemble rejects from Miami Vice) basically finds any way to diminish her. One night, while working in her lab to prepare materials for her next class she gets struck by an enormous power surge caused by a lightning storm. Soon after, she’s showing signs of not being all there . . . displaying a ravenous appetite (until then she would secretly deliver half her food to neighboring dogs), a sudden desire for sex with her husband . . . and walks at night, where, glowing, she sets things on fire.

She also takes an approach to a disabled student, Malik, and by nurture alone she cracks the shell that Malik up until then had kept intact, turning him into her most prized student. Problems arise when the other part of her, the one that acts out at night, starts to manifest its own presence. It’s only time before things will get slightly out of hand. Will Mme. Gequil be able to control the Mme. Hyde she is slowly morphing into?

Huppert, as usual, delivers strong acting in a part that requires her to be basically two different personalities. For the most part Madame Hyde is fairly comedic — a class project based on the Faraday Cage serves as a perfect tool to enact a certain revenge filled with a restrained “fuck you” approach. It’s in the final act when Mme Gequi’s alter ego takes over, that Huppert sinks into what she does best, which is finding the pathos and tragedy within.

For lovers of Huppert, seek her out in Joachim Trier’s Louder than Bombs, Guillaume Nicloux’s Valley of Love, Bozon’s previous Tip-Top, Francois Ozon’s 8 Femmes, Mia Hansen-Love’s Things to Come, Michael Haneke’s The Piano Teacher, and Claude Chabrol’s Violette.

Madame Hyde has no known US Premiere date, but will premiere in France March 28, 2018.

LOUDER THAN BOMBS

4 out of 5 stars (4 / 5)

 

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Nothing brings a family dysfunction to the surface like the departure of the glue that holds them together, and in Joachim Trier’s and Eskil Vogt’s new film Louder than Bombs it all rings too true. However, this is not a melodramatic film — it would have been easy to give actors scene after scene of loud arguing, emoting, and a finale of almost grandiose proportions. Trier instead has created a rather tender and quiet portrait of a father and his two sons coming to terms with the premature death of their mother who was a noted photo journalist and had a couple of secrets of her own.

The mother, Isabelle (Isabelle Huppert), hovers over the picture like a ghost who won’t rest in peace. When we first see her she’s getting some award for her body of work. Soon later we realize how it was she really died — in a car crash, possibly caused by her, which would make it suicide. However, no one ever truly speaks out that word and it starts a chain of avoidance between the surviving characters who now have to contend with this shattered new reality. Gene (Gabriel Byrne), Isabelle’s widow, has no idea how to reach his teenage son Conrad (David Druid) who has become withdrawn and aggressive, so he takes to either following him after school or playing World of Warcraft in order to connect. Gene has also been carrying on with Hannah (Amy Ryan), David’s teacher, in a movie that seems more out of loneliness than anything.

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In the meantime, in for a retrospective of his mother’s work, older son Jonah (Jesse Eisenberg) shows up. He’s recently become a father and on the night that his wife borne him a son he ran into and reconnected with a former flame who’s mother was also dying in the hospital.

As I said before, this isn’t a movie with big revelations complete with an abundance of self-important dialog or all too camera-ready scene chewing. If at all the only moment that any performance feels completely naked even when it doesn’t reveal anything other than inner torment is a flashback sequence showing Huppert in a hotel, her face pinched and sad. It’s no wonder she’s this force that will not give away: Huppert has imbued her character with a world of inner pain that perhaps had no other solution than the way out. Everyone else is left to gravitate around her and try to fill in the void she has left.

Because of this, Louder than Bombs may disappoint viewers looking for that “a-ha!” moment when everyone comes into the foreground and sounds off. I actually preferred this somewhat elliptical turn, since let’s face it, this is closer how we tend to react to traumas such as these. It’s probably despite of this, where the film films incomplete, that one will appreciate its content more.