Un Certain Regard screening - review - AMOUR FOU by Jessica Hausner
“Would you care to die with me?” is German romantic writer Heinrich von Kleist’s proposal, first to his cousin and then to the wife of an upper class Prussian acquaintance whom he sees as unhappy. Indeed, the extreme romanticism of the real life underappreciated poet and writer lays down the foundation for the narrative, which is the story of the suicide pact that took place at the start of the 19th century between him and Henriette Vogel.
Jessica Hausner takes this bizarre period drama to the screen in a prestigiously deadpan way. Her latest work Amour Fou was presented in the Un Certain Regard section of the 67th Cannes Film Festival. Despite what one may initially identify as a deeply dramatic and psychologically dense examination of the mad side of romanticism – particularly the romanticism of classic literature where death by heartbreak and death as liberation are reoccurring themes that can be found in many of the most celebrated works – Hausner is also quick to identify the ridiculousness of it all. She does so by highlighting it with soft-spoken comedic undertones represented by the wonderful stillness of the meticulous mise en scene and photography as well as the soft spoken monotone performances of its leads.
This of course, is something that is reminiscent of Kubrick’s Barry Lyndon and Ridley Scott’s The Duellists, but also part of a new trend particularly prominent in European filmmaking of the period drama. At this point it is only fair to mention the excellent work by Spaniard Luis Minarro, Stella Cadente, which was presented earlier this year at the International Rotterdam Film Festival and actually dared more by making more blatant references to modern culture.
There is a kind of invaluable synergy in the work, from the lack of off field soundtrack – with all the songs and music performed on screen by its cast and mostly by Henriette’s daughter, whose relationship with the mother often remains unexplored in favour of a more sensed explorations of Henriette’s own stubbornness. In the same way, the relationship between Henriette and her husband is very interesting because it is under-exposed. The infinite love he has for her wife seems unable to keep her from changing her mind. The drastic decision has been taken, and it is too late to do anything about it.
The synergy is completed by the performances of the cast, that totally buy into the filmmaker’s vision. Oftentimes, the very nature of Amour Fou affects its pace, yet the treat of the delicate irony and emotional reveals of the dialogues in the characters’ interactions are somewhat amplified by the constancy of the pace. Similarly, Hausner’s afore mentioned lenience towards a deadpan approach makes the character’s emotional revelations and internal struggles all the more intriguing and nothing short of enigmatic.
One could say that with this work, Hausner revisits an old cliché. At the very core of the film, she ponders upon the thin line between romanticism and obsession – a thin line that is as relevant today as it was at around the time setting of this film.