Tag Archives: Berenice Bejo

The Long Goodbye

Another End

by Adam Barney

“Grief is the price we pay for love” – Queen Elizabeth II.

It’s probably the cynic in me, but it’s not hard for me to believe that companies will find a way to monetize our grief processing in the near future. It feels like it is practically upon us that an AI program will gobble up e-mails and text messages and then communicate with us as a construct of our deceased loved one. The grieving will get the chance to hang on a little longer to that person or say something that they didn’t get a chance to say during their life. But is this doing any good for the bereaved?

This is the primary issue that writer/director Piero Messina explores in Another End. With a wave-of-the-hand science explanation, a deceased’s memories can be loaded into a volunteer “host”, and they will spend a few sessions with the bereaved. The host transitions back and forth between themselves and the deceased when they go to sleep. This process can’t last forever, so you must be prepared to say goodbye again.

Gael Garcia Bernal (The Motorcycle Diaries, The Science of Sleep) plays Sal, a widowed husband who blames himself for the car crash that killed his wife. His sister Ebe (Berenice Bejo, The Artist) is worried that Sal won’t fully recover from his grief and she just so happens to work for the company that provides the host experience described above. After convincing Sal to try the program, his wife’s memories are downloaded into Ava (Renate Reinsve, The Worst Person in the World, A Different Man), who begins to visit Sal as his deceased wife Zoe. Sal is curious about the host, so he starts to follow Ava in her real life so that he can get to know her too.

Another End is melancholic. From the score to the performances, there is a sterile iciness that permeates every inch of this film. We don’t get to experience any of the happier times; we just dwell with the characters in the pit of their loss.

Bernal wears haunted well and Reinsve does an excellent job in the dual roles of Ava and Zoe. Black Mirror, for better or worse, has conditioned us to have certain expectations with a story like this. All the expected twists and turns play out as you will have likely guessed from the beginning and nothing profound is offered before the credits roll. An advantage to the Black Mirror stories is that they are handled in about an hour, which makes Another End feel quite bloated with its two-hour runtime.

Formidable Filmmaker Explores The Past

The Past

by Hope Madden

Original films – not reboots, franchises, or adaptations – are a relative anomaly in today’s movie landscape. Truly original works that take you into authentic human experiences are an even greater rarity. This sad fact puts writer/director Asghar Farhadi in the category of the unique alongside Wes Anderson, Paul Thomas Anderson, Quentin Tarantino and Jim Jarmusch. Like each of these geniuses, Farhadi has a particular style. You can see this style in his latest, the French language drama The Past.

At its own pace, the film unveils the complicated relationships a splintered family has with each other and with its past. Iranian Ahmad (a wonderful Ali Mosaffa) returns to France to attend the divorce hearing his French wife Marie (Berenice Bejo) has asked for. He wonders why he had to come in person, and why Marie didn’t book him into a hotel as he asked.

The low key Mosaffa anchors the film of a family spinning out of control, and his unflappable demeanor makes a lovely counterpoint to Bejo’s chaotic bursts of passion. Because of Ahmad’s grounded presence, we can slowly unravel all that brought the family to this point.

Bejo (The Artist) offers an unflinching performance. She’s never worried about being likeable, and indeed, Marie is not. She’s an amazingly textured, complicated mess of neediness, love,  guilt and denial.

As the title suggests, the past itself is also an ever present character. It doesn’t go away, it remains. Like Ahmad, no matter how much distance Marie puts between herself and her past, it is still right there, coloring today as well as tomorrow.

Farhadi writes beautifully, and he draws very natural and dimensional performances from his entire ensemble, even the youngest members of the cast. As the story spills out in every direction, the messes remain true to the characters and their lives. Chaos isn’t created for the sake of chaos, it’s simply examined as a natural side effect of the happenstance of this family.

The Past has Farhadi’s thumbprints all over it, showing countless little similarities in theme, style and tone to his previous efforts, but it pales in comparison to his Oscar winning A Separation. Adults take self righteous stands, young people want to learn from them but have to point out the hypocrisy of their actions, and tragedy hangs in the balance. He understands the sometimes powerfully difficult messes people get themselves into, and the sleight of hand adults use to excuse themselves and blame others.

It just doesn’t work quite as well here. In The Past, the lessons feel a little more like finger wagging. It’s a minor fault, though, in a beautifully acted, well written, expertly crafted and often surprising family drama.

 

Verdict-4-0-Stars