Retrospective: Philippe Garrel review - IN THE SHADOW OF WOMEN by Philippe Garrel

PHILIPPE GARREL's insistence on a particular style of filmmaking and storytelling may make his latest work IN THE SHADOW OF WOMEN, presented in a special retrospective section of the 15th T-MOBILE NEW HORIZONS INTERNATIONAL FILM FESTIVAL, the best work for a discovery of re-discovery of his entire repertoire.

PHILIPPE GARREL has been making films since the glory days of the FRENCH NEW WAVE, and yet never enjoyed the popularity of such names as GODARD, TRUFFAUT and VARDA - reason being arguably because his ways, both as filmmaker and storyteller, has widely remained unchanged in style and context. This has ensured the French filmmaker a loyal following, but little potential to interest the new breed of arthouse audiences. 

Yet, his latest film IN THE SHADOW OF WOMEN, with good timing and good marketing, could prove to be an excellent starting ground for a general discovery or rediscovery of the filmmaker's works. 

The story of the film is quite familiar. A penniless married couple, lovers and artistic collaborators working on a documentary on the French Resistance, seem to have no reason to cheat on each other. Yet, one day, Pierre meets Elisabeth and his physical attraction for her is so strong that he doesn't think twice about sleeping with her. Subsequently, upon discovering her husband's infidelity, his wife Manon also embarks on an affair with an alienated writer. From there on, more personal and psychological intrigues lead to a very honest examination on relationships, infidelity and battle of the sexes, all of which have been defining concerns in GARREL's filmography.

The style lacks in redundant rhetoric, via a sharp editing approach that favours a quick pace and allows a blunt portrayal of the events that unfold in a matter-of-fact rapid succession. This, in turn, also lends itself to a deadpan satirical approach that remains non-judgemental towards its characters and their absurd motives. They are presented with a factual neutrality that allows them to seem as silly as much as vulnerable. In other words, none of the characters are particularly meant to be liked - they simply are. 

This hint at provocation, is of course more than welcome, while its realistic vibe ensures that the film remain legitimate all the way through. IN THE SHADOW OF WOMEN is also presented in glorious black and white, which usually recalls a feeling of timelessnes and nostalgia, but in the case of PHILIPPE GARREL is more like a part of a distinctive style that has defined the vast majority of his features since the afore mentioned FRENCH NEW WAVE. 

It also features some of the best acting of the year, with STANISLAS MERHAR's enigmatic quietness and CLOTILDE COUREAU's tender balance of devotion and frustration further orchestrating the psychological intensity of a couple on the verge of a nervous breakdown and a dense lack of honesty and communication that underlines the stubbornness of their respective characters' actions. 

Top marks go to a show stealing turn by LENA PAUGAM, a theatre actress who makes a staggering feature debut in her role as Elisabeth, perhaps the only real victim in the film, and the character who the viewer is most likely to empathise with. She is incredible, both in line delivery and physicality, revealing with restrained powerful humanity her character's naive hopefulness and her inability to understand the true motives of the man who she is desperately falling in love with.