Isabelle Huppert and Mia Hansen-Løve combine for a thoughtfully understated film.
Life is generally complicated. Relationships end, loved ones die and everything is capable of changing at a moment’s notice. And while films typically traffic in the chaos these events bring about, they often neglect the normalcy. As much as some people might want to scream to the rooftops and embrace the melodrama, many must simply try to keep moving forward with their lives and getting by. These ideas can be found at the center of Mia Hansen-Løve’s new film Things To Come, a lovely meditative exploration of a life thrown off balance.
The film centers on Nathalie (Isabelle Huppert), a married mother of two adult children and a devoted high school teacher in Paris, whose life is permanently altered when her husband (André Marcon) announces he is leaving her for another woman. While struggling with this upheaval, Nathalie must also deal with the deteriorating state of her pestering mother (Edith Scob). With her life no longer bound to her family, Nathalie attempts to make sense of her new freedom as she develops a friendship with a former student, Fabien (Roman Kolinka).
While the plot on paper may not come across as especially captivating, the film succeeds largely because of the work of Hansen-Løve and Huppert. As both writer and director, Hansen-Løve emphasizes depth over drama, opting to showcase the minute details of Nathalie’s life rather than focus on her “romantic drama”. This attention to detail carries over to her work with cinematographer Denis Lenoir as moments as small as Nathalie walking barefoot on a muddy beach or attempting to dispose of an unwanted bouquet of flowers beautifully flesh out her world. Huppert however matches her director every step of the way, conveying all the conflicting emotions of her character in vividly understated fashion. While rarely showy, Huppert brings honesty to a woman facing unexpected changes and trying her best to get through.
There are small issues within the film, particularly its emphasis of Fabien who despite the charming work of Kolinka, feels too much like a stereotypical image of an intellectual rebel than a fully developed character. Similarly those looking for something more outwardly dramatic will likely find several stretches possibly too slow for their enjoyment. However the exceptional work of the women behind this film cannot be overstated. In an industry so reluctant to acknowledge the idea of women aging, the two bring thoughtfulness and affection to this story, embracing the pain and beauty life has to offer.
We screened the film at the New York Film Festival. For tickets visit here:
https://www.filmlinc.org/nyff2016/films/things-to-come/
-Nathan Braun
