(2014) Drama (Bueno) Maria Alche, Anthony Bonaventura, Pablo Cedrón, Albert Kodagolian, Matilda Anna Ingrid Lutz, Dominique Pinon, Robyn Buck, Zoe Kodagolian. Directed by Albert Kodagolian
The end of a relationship can be full of noise and fury, or a quiet exit. Just as no two relationships are exactly alike, no two break-ups are exactly alike either.
Kodagolian, a first-time feature director, took his inspiration from Atom Egoyan’s critically acclaimed 1993 film Calendar as he details the ends of two relationships. The first is set in Patagonia as a nameless American photographer (Bonaventura) takes his girlfriend Elena (Alche) to act as translator for his Argentinean guide (Cedrón). The photographer is so immersed in his work he scarcely notices the beautiful vistas he’s given to photograph or that his girlfriend is falling hard for the guide.
In the meantime, Albert (A. Kodagolian) who works in the film industry in Hollywood, is shocked when his wife Rachel (Buck) leaves him abruptly without explanation. He is an instant single dad, caring for his toddler Zoe (Z. Kodagolian), To help out, he hires a nanny (Lutz) who herself begins to see hidden depths to Albert that maybe his wife missed. As Albert and Elena start moving towards different chapters in their lives however, they must first deal with the end of the previous chapter.
The two relationships don’t intersect other than only in marginal ways – Albert is preparing to make a movie of the goings-on in Patagonia, but beyond that the characters have little in common. At times the tenuous connection between the two stories leads to some pretty rough cuts jumping from one to the other; the effect is jarring and takes the viewer out of the movie by reminding them that they are watching a movie, a cardinal sin of movie making.
There is some beautiful cinematography here, from the natural beauty of Argentina to the angular interiors of designer L.A. homes and sun-dappled drives down Sunset. This is a beautiful film to watch and sometimes the images are so mesmerizing that one can forgive the dialogue which can be pretentious at times. There is a distinctly 90s art house vibe to the film which may or may not invoke a sense of nostalgia depending on your opinion of 90s art house films.
What really saves the film are the performances, from the lustrous Alche who allows the emotions of her character’s situation to play upon her face and in her gestures. The photographer character she is with is so emotionally shut off that Elena’s feelings are like rain in the desert. We find ourselves needing to experience them. One of the more heartbreaking moments in the film is when she is saying goodbye to the photographer, trying to express some affection towards him but he stolidly turns his back on her and refuses to engage. It symbolizes all that must have been going on in that relationship and yet as a man, I could certainly empathize with the photographer who being dumped wants nothing to do with the woman dumping him. It feels very real – and very sad.
Veteran French actor Dominique Pinon, who plays a friend and colleague of Albert’s, also reminds us why this eminently likable actor is one of the most beloved stars in France. Here he plays something of a Greek chorus for Albert, at length telling him to get off his ass and start living, soldering in the device with his own experience. Pinon has always been an engaging character actor but he shows he can pull out the stops and deliver some worthwhile dramatics as well.
The soundtrack is full of indie rock songs and the filmmakers are to be commended to getting some good ones. The music is strangely upbeat for a movie that is portraying such discordant relationships but the juxtaposition is at least interesting and it truly never hurts to have good music on the soundtrack regardless of the scene that’s playing along with it. I didn’t get a chance to catch the soundtrack listing but there are certainly quite a few songs there that I wouldn’t mind adding to my digital collection.
There is a lot going on here but although Kodagolian sometimes goes for art house tropes that fall flat, for the most part this is extremely watchable and the relationships failing or not feel genuine. I don’t know how autobiographical the Los Angeles portion is – the fact that Kodagolian used his own child to play Zoe is telling – but Kodagolian, who might be a little bit too low-key here, projects some real emotional commitment.
This isn’t for everyone. Cinemaphiles will enjoy the Egoyan references and those who like slice of life movies will relish the peek into these lives. Those that need a bit more emotional release will probably have issues with this as the movie essentially begins in media res and ends that way as well. Still, it is a worthy feature that might be worth seeking out at your local art house or on VOD when it arrives there.
REASONS TO GO: The film is beautifully shot. The soundtrack is tres cool.
REASONS TO STAY: The film jumps a bit from scene to scene. A wee bit pretentious in places.
FAMILY VALUES: There is a bit of mild profanity and some drug use..
TRIVIAL PURSUIT: The Patagonia sequences were shot in 16mm while the Los Angeles sequences were shot in standard 35mm.
CRITICAL MASS: As of 4/23/17: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: Calendar
FINAL RATING: 6/10
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