IN THE SHADOW OF WOMEN (L'ombre des femmes) (2015) - ♦♦♦♦♦

Directed by - Philippe Garrel

Written by - Jean Claude Carriére, Caroline Deruas-Garrel, Philippe Garrel, Arlette Langmann

Starring - Clotilde Courau, Stanislas Merhar, Lena Paugam

"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, directly referring to the French New Wave movemenent he represents through its black and white cinematography.

The style of IN THE SHADOW OF WOMEN 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. 

It also features some great acting of recent times, 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."

Drama, France/Switzerland