Philosopher Bertrand Russell once stated "Love is something far more than desire for sexual intercourse; it is the principal means of escape from the loneliness which afflicts most men and women throughout the greater part of their lives." It is that illusive escape that drives the narrative of "Le temps de l'aventure" (Just a Sign), the latest film from French director Jérôme Bonnell.
Alix (Emmanuelle Devos) is a middle-aged actress undergoing her midlife crisis. She is currently working in a theater production for a company that is in the red and her personal life includes a boyfriend who won't respond to her phone calls. However, while on a train ride from Calais to Paris, Alix locks eyes with a mysterious British man and initiates a quirky cat and mouse game in which Alix seeks out the comfort she is lacking from this seemingly perfect stranger.
Stylistically Bonnell keeps the film rather quiet in early stages with tight, claustrophic close-ups of the ponderous Alix. These close-ups and Devos' yearning stare keep the viewer pondering her thoughts. The most potent scene in the film is the train ride in which she meets mystery man. The two exchange glances endlessly; the constant repetition creates great suspense as one anticipates the other taking action; it also creates a great deal of mystery that drives the majority of the film. The film's central journey of Alix's search plays out with numerous light touches that maintain an upbeat tempo throughout. At one point, a distracted Alix walks into a pole in the street. A "doctor" walks by and tells her to rest her head against something cold; naturally she suggests the pole. As a pedestrian passes Alix he throws out a coy insult: "Nice couple." It actually emphasizes the lonely life of Alix perfectly. In another scene, Alix confronts her equally neurotic sister; despite the tremendous tension built throughout the scene, the eruption of the two women has a few comedic touches. During an early audition scene, Alix gives a riveting performance of a scene only to be told by a poor casting director that she needs to be "more moving." When she asks what he means his only response is to repeat his words and give no further direction. Alix's ensuing performance, while over-the-top by the audition's standards, gives the viewer a breath-taking account of her inner emotions.
Unfortunately the film takes a wrong turn in its final act. With the mystery behind the man revealed and the relationship pushed to its limit, Bonnell chooses to pry further into the romance in hopes of finding new ways to develop the characters; in this respect he fails. With minimal suspense driving the film, the new tone shifts into soap opera territory with the central question "Will she leave him or not?" dominating the conflict. Virtually every scene becomes consumed by unspoken staring which, while effective in engaging the viewer earlier, always lead to the same predictable actions and results. In one moment Alix seems ready to leave the new man, but then changes her mind and hugs and kisses him. The two then run off to another romantic setting and the same actions play out in identical fashion. This cycle occurs three or four times in the span of 20 minutes and instead of riveting the viewer, threatens to bore and wear on his/her patience. The characters say goodbye in about five different scenes and at some point it feels like the film exceeds it running time (it is actually 104 minutes long). Even the repetitive phone calls that have added layers of comedy reach their expiration date and come off as a lack of inspiration from the writer and filmmaker.
References to Pedro Almodovar's "Women on the Verge of a Nervous Breakdown" dominate the film including the persistent phone calls as well as a major plot point near the end that only embellishes the soap opera feel. The early audition in which she essentially tells her life story also correlates with a scene in Almodovar's film in which Pepa converses with her lover Ivan in a recording session and the performance becomes real life.
Devos drives the film with her nuanced performance. Even if the entire film revolves around the journey, the central conflict is her inability to cope with her unstable lifestyle. One moment she is pensive and quiet, the next she is frantic. Her vulnerability throughout these proceedings adds to the audience's ability to empathize with her.
Gabriel Byrne has a tremendous presence as the mystery man; his face riddled with pain that draws one in. What is wrong with him? Why won't he smile? Even though the viewer gets a chance to know him briefly, his loneliness and persistent sadness remain a great mystery to the viewer.
The film is certainly an entertaining and nuanced piece about loneliness and love. Unfortunately, the narrative exceeds its own limits when it tries to impose a repetitive romance on the viewer. The futile attempts to pull on his/her heartstrings by the time it comes to its bitter-sweet close instead turn into relief that the film has finally come to an end.
"Just A Sigh" screens on April 18, 21, 25, 28.
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