★ / ★★★★
Louis (Louis Garrel) tells Clothilde (Rebecca Convenant) that he will be leaving her for Claudia (Anna Mouglalis), a stage actress with a lot of talent. Clothilde is devastated by the announcement especially since the two of them have a little girl. Meanwhile, Claudia becomes increasingly unhappy because she cannot seem to snag a role despite her best efforts. This puts a strain on her relationship with Louis, the man who used to give her so much joy and excitement.
Directed by Philippe Garrel, “La jalousie” is tonally flat, shot in black-and-white, and has an unconventional, at times inaccessible, story arc. What results is a boring, soporific movie that feels more than two hours long despite the fact that it is barely an hour and fifteen minutes. For the most part, the picture comes across unripe and underwritten, its dramatic occurrences more histrionic and vapid than genuine or truly worthy of our time to try and understand what makes each person tick.
The screenplay by Marc Cholodenko and Caroline Deruas-Garrel fails to discern between the two women in Louis’ life. Since we do not completely understand why Louis decided to leave Clothilde or why Claudia is special to Louis outside of her talent as a performer, the women function more like coat hangers rather than real people with real thoughts and feelings, to be displayed only whenever the camera needs to fill up space. I guess credit should be given for not taking the most obvious route: making one highly detestable and the other completely lovable.
The adult characters are moody, hollow shells. The material only truly comes alive whenever Louis and Clotilde’s daughter is on screen. She is lively, the tone of her voice changes, there is a certain presence in her eyes. Claudia, Clothilde, and Louis come across whiny, privileged people with no big problem that is worthy of their feelings of depression. I was amused when, at one point, Claudia considers taking on a job outside of theater. She and Louis act as though this decision is tantamount to facing the end of the world. A side job? How gauche!
“Jealousy” lacks soul which is problematic because we are supposed to empathize with its characters even though we may not necessarily agree with their actions. The malaise is laid pretty thick and it is most disappointing that the writing fails to mold such emotion into something that is complex and constantly evolving. Drama is rooted in highs and lows. This picture offers only lows and so we wonder why we should care what is eventually going to happen.