, which hits theaters July 28, is the first film in a decade from provocative French director Catherine Breillat. Withwith a suspenseful sexiness that’s hard to shake. The story of a quasi-incestuous May-December romance that threatens to destroy a well-to-do family, it’s a drama expertly modulated to raise both eyebrows and pulse rates, led by a superb Léa Drucker performance that’s rooted in uncontrollable self-destructive passions and intense self-preservation instincts.
Upon arriving, Théo lives up to his billing as a grade-A pain in the ass, leaving his clothes strewn all over the house for Anne to pick up, bristling at his elders, and caring more about wasting time on his phone and smoking inside than about obeying rules or being productive.
Anne claims she’s a “gerontophile” and that “normopaths” bore her, but her subsequent actions indicate that merely one of those statements is really true. Ditching a dinner party to go on a walk and have a drink with Théo at a local café, Anne is clearly smitten with the way the floppy-haired, oft-shirtless boy cocks his head and gazes at her with playful come-hither lust.
During a private conversation, Anne admits to Théo that her biggest fear isn’t just that everything will disappear, but that she might make it all vanish, because the sole thing worse than calamity is the anticipation that precedes it. This impulse is at the root of Anne’s compulsion, and yetaffords no easy answers regarding its protagonist, who responds to being found out by cannily manipulating the truth, and her thorny domestic circumstances, to her advantage.
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