\n\tOut of all the film genres, the one the French probably do the best is the coming-of-age movie. It\u2019s not hard to find lots of great examples: Truffaut\u2019s The 400 Blows, Eustache\u2019s Mes Petites Amoureuses, Pialat\u2019s L\u2019enfance nue and A nos amours (To Our Loves), T\u00e9chin\u00e9\u2019s Wild Reeds and Kechiche\u2019s Games of Love and Chance, to name only a few. Film historians may have a good academic explanation for this phenomenon, but if I were to venture a guess, it would be that French auteurs, especially those from the New Wave onwards, tend to reject the cut-and-dry, over-scripted narratives of Hollywood movies in favor of something more honest, messy and personal \u2014 which is very much the definition of adolescence. \u00a0\u00a0<\/p>\n
\n\tFor her stunning feature debut, La Gradiva, cinematographer turned director Marine Atlan tackles the genre in the most French way possible, delivering a sprawling chronicle of teenage angst that starts off as a laid-back class trip to Italy and gradually turns into a devastating tale of loss. Featuring an impressive cast of unknowns and a style that captures them with both beauty and verisimilitude, this deserved winner of the Cannes Critics\u2019 Week Grand Prize announces the arrival of a formidable new talent.<\/p>\n
\t\t\t\t\tLa Gradiva\t\t<\/p>\n
\n\t\t\t\t\tThe Bottom Line<\/p>\n
\tAnnounces the arrival of a formidable new talent.<\/p>\n
\t\t\t\t\t\t\tVenue: Cannes Film Festival (Critics\u2019 Week)
Cast: Colas Quignard, Suzanne Gerin, Mitia Capellier-Audat, Antonia Buresi
Director: Marine Atlan
Screenwriters: Marine Atlan, Anne Brouillet
\n\t\t\t\t\t\t\t\t2 hours 25 minutes\n\t\t<\/p>\n
\n\tWhat makes Atlan\u2019s film feel at once fresh and part of a long tradition of great French teen movies is how she fills it with new faces, outfits, attitudes and sexual preferences, yet portrays the kind of dramas that have been happening since drama was invented. Indeed, the iconic setting of La Gradiva, which follows a class of high school seniors to Naples and Pompeii, is used to frame this story of unrequited love and adolescent turmoil against precious artifacts from ancient times \u2014 frescoes, statues and calcified bodies in agony \u2014 depicting the very same things thousands of years ago. Times may have changed, and everyone\u2019s glued to their phones now, but feelings are still feelings.<\/p>\n
\n\tThis is immediately apparent in the movie\u2019s opening scene, which shows charismatic class fuck-up Toni (Colas Quignard) spying on his handsome best friend James (Mitia Capellier-Audat) while the latter sleeps with a fellow student on the train down from Paris. Toni, who is gay, looks on with curiosity and a fair amount of jealousy as James \u2014 the class ladies\u2019 man and a nonchalantly good student \u2014 canoodles, and then some, with a girl, setting the stage for a conflict that takes over much of the film\u2019s second half.<\/p>\n
\n\tThe other conflict Toni faces is with his own origins: His maternal grandmother was a Neapolitan chambermaid who claims she had an illicit love affair with a local aristocrat, until the latter was killed in a 1980 earthquake that destroyed Naples and the surrounding region. Now Toni is back to possibly reconnect with his roots, even if he doesn\u2019t speak much Italian and no longer has contact with that side of the family.<\/p>\n
\n\tToni\u2019s dual quests fuel a story that appears to be casually constructed but grows considerably darker and more dramatic as time passes. The first hour or so of La Gradiva actually seems, at times, like a loose-limbed French hangout movie, with the kind of authentic attitudes and performances that directors like Kechiche have done so well beforehand. Atlan brilliantly channels the ebb and flow of shifting moods \u2014 the way a joke can suddenly transform into a bitter fight, or the way a glance at another classmate during a museum visit can speak volumes about loneliness and longing. But she gradually homes in on the three-or-four-way love affair at the center of her plot.<\/p>\n
\n\tIf Toni is the film\u2019s protagonist, and James his object of desire, a narrator appears in Suzanne (Suzanne Gerin), the top student in their Latin class but also the one with the least social ties. In a disarming scene between Suzanne and other girls as they chill out in the dorm one night, they ask her why she hasn\u2019t had sex yet and she says to them: \u201cHave you seen my face?\u201d It\u2019s this kind of crushing honesty that characterizes the film itself, as if Atlan were a fly on the wall with a camera (the director, who shot last year\u2019s Cannes entry The Girl in the Snow, served as DP along with Pierre Mazoyer).<\/p>\n
\n\tThere is so much more going on both above and beneath the surface of La Gradiva, whether it\u2019s the class disparities between Toni and James, or the sexual fluidity of the latter, that it\u2019s impossible to jam it all into one review. Atlan\u2019s movie even seems to digress at times, especially during a few long lecture scenes by the group\u2019s dedicated if disillusioned teacher, Madame Mercier (Antonia Buresi), who emerges as the other main character: a woman whose cultural passions betray lots of deep longing as well.<\/p>\n
\n\tBut everything we see is happening for a reason, leading to Toni\u2019s increased isolation and erratic behavior, until a chain of events sets off an absolutely heartbreaking finale. Before that occurs, Atlan captures the students celebrating one last night abroad together, dancing and rapping along to singer Theodora\u2019s club anthem \u201cKongolese sous BBL\u201d as they each find out what college they\u2019re going to next year. <\/p>\n
\n\tAs in many scenes of her splendid debut, the director warmly trains her camera on the collective cast\u2019s elated faces and bodies, catching them between ecstasy and anxiety, between fear and elation \u2014 young adults looking toward the future but forever caught in the dramas of our past. \u00a0\u00a0\u00a0<\/p>\n","protected":false},"excerpt":{"rendered":"Out of all the film genres, the one the French probably do the best is the coming-of-age movie.…\n","protected":false},"author":2,"featured_media":685478,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[27],"tags":[64,63,290867,45527,134,344],"class_list":["post-685477","post","type-post","status-publish","format-standard","has-post-thumbnail","category-movies","tag-au","tag-australia","tag-cannes-2026","tag-cannes-film-festival","tag-entertainment","tag-movies"],"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/posts\/685477","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/comments?post=685477"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/posts\/685477\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/media\/685478"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/media?parent=685477"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/categories?post=685477"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/tags?post=685477"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}