Minimalism has always been present throughout the history of European cinema. The stories never follow specific structures and the films are shot with a very raw aesthetic. Philippe Garrel's new film "Jealousy" takes the concept of minimalism to the extreme and creates a movie so ambiguous that it is difficult to find interest in its characters or setting.
"Jealousy" tells the story of a couple trying to survive as actors. However as they struggle to reach their goals their lives begin to fall apart. Louis (Louis Garrel) is a struggling actor who recently left his wife and child while Claudia (Anna Mouglalis) is a washed out actress who is unsatisfied with her life in poverty and strives to improve. While Louis is content and tries to make the days go by in happiness, Claudia tries to find ways improve her life.
The film begins beautifully with an extended shot of Clothilde (Rebecca Convenant), Louis' former wife, breaking into tears as he leaves the house. Their little girl wakes up and hears the fight that is only heard but never scene. The scene resonates because of how the actress portrays the pain and suffering of losing her husband and it is actually a foreshadowing of the how the other relationship will end.
Once this sequence ends the film gets to its main characters. Louis and Claudia share some moments together in the park and in their small flat but they never share a kiss and one gets the sense that they are lacking something. They constantly say they love each other but never show it; it is almost a purposeful rupture of the cinematic rule that demands "showing instead of telling."
However, the breaking of this rule is taken to the extreme with the film and presents the overall issue with it. Garrel implies every action and never shows it. In one scene Claudia is speaking to her friend and suddenly runs out of the restaurant to look for Louis. The moment is jarring and cumbersome because no one understands her erratic behavior. It is only until she arrives at the apartment that she tells Louis that she thought he was cheating on her. However the idea of Louis cheating comes out of left field. The idea is as quickly dismissed as it is brought up.
Claudia constantly says she is going to an audition but the auditions are never seen. The only time these auditions are mentioned is when Claudia speaks to Louis or her friends on the failure. The result is that her struggles are hard to empathize with as the viewer fails to see them; instead what Garrel winds up showing makes the character seem whiny and fastidious.
The exception to these scenes is when Claudia takes Louis to an apartment she was given. It is the only scene in the movie where Claudia acts upon her desires. Other than that, Claudia seems like a moody woman who claims to be improving; however, Garrel rarely ever supports the notion visually.
The other problem with the film is Garrel's constant cutting to Clothilde and Charlotte (Olga Milshtein), Louis' daughter. At one point in the movie it seems like they are the central characters as Garrel constantly returns to them throughout the film for extended sequences. During a dinner scene after Charlotte meets her father's girlfriend Claudia, she goes home to rave about Claudia. The constant praise causes a riff with her mother. However the sequence is the last time the audience sees Clothilde, leaving many questions unanswered. Why is Chlotilde jealous of Claudia? Does Clothilde desire to get back with Louis and does Clothilde think her daughter will prefer Claudia?
Despite the chaotic structure of the film, the performances of Louis Garrel and Mouglalis are top notch. Garrel is particularly effective in the later part of the film when their relationship is at its worst. In one scene when he is all alone, the director leaves the camera on him (as he does in the first scene) and the emotions start to come out. He begins to move around in an erratic and unpredictable manner; the climax of this scene is stunning in its emotional execution. Mouglais excels in showing her pain and dissatisfaction throughout the film. She looks weary and rarely ever shows a smile. In scenes with Garrel she can be charming but at the same time vulnerable. In other scenes with her lovers she shows off her sex appeal.
Another standout is Milshtein as Charlotte as she brings radiance to the otherwise dim tone of the film. In the aforementioned dinner scene with her mother, Charlotte starts to question her mother on why her father left her. However instead of making it a dramatic scene, Charlotte's energetic and coquettish way of asking questions emphasizes her innocence and charm.
Overall the film's running time of 77 minutes feels short. The characters are not fully fleshed out and the lack of focus makes for a difficult and often tedious viewing experience.
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