Quiet in San Fran11 May 2008
— Errata Movie Podcast —
Vendredi soir
2002, France
director: Claire Denis

Claire Denis is an incredibly subtle filmmaker. Even if you know this, you're likely to miss things that she puts right before your eyes until you reflect on them later. Of her previous movies, I've seen Beau Travail and Trouble Every Day, and both stuck with me for days or weeks after I saw them, even though I wasn't sure what to think right away. Friday Night is less visually striking than either of those, but it is still beautiful. All three movies are more akin to short stories than novels, both in the sparsity of plot and in the way they allude to complexity of character that exists outside of the episodes that we see.

In Friday Night, Laure is on the verge of changing her life. She's moving in with a man, maybe a fiancé. This involves throwing out a lot of old things, in every sense, and she doesn't seem to have come to terms with this. Denis tells us nothing but shows us everything. Laure's attitudes toward marriage and commitment are reflected in the people she knows, with their crying babies and intolerance of men who smoke. Her attitudes toward her past are reflected in the way she dusts off the dashboard of her beloved (but up-for-sale) automobile, the way she repositions an ash tray and pack of cigarettes in a hotel room, and the way she finds comfort in empty rooms and empty beds. Her conflicting attitudes toward men, toward commitment, appear when she picks up Jean, a stranger, during a traffic jam — at times he seems like a vice, at times he seems to have vanished with her car, and at times, when he's driving, her life is out of her control as he races through back roads, she having foolishly let him behind the wheel and climbed aboard. In a flourish that typifies her sense of visual poetry, Denis alludes to universes outside of the central story with just a pair of shots in a restaurant: 1) Jean watches 2) a young man sweeping the floor as his watch and wedding ring catch the light. Which is to say that Jean notices a man working late, slaving in a restaurant to support a family. We know very little about Jean's situation, but we get a hint of his own attitudes toward marriage from the things he chooses to observe, in seconds. Similarly, Laure, who relates to Jean sexually, projects her feelings onto other women, seeing each of them as one of Jean's possible conquests. And before we leave Laure to her destiny, we get a sense of whether she has, this last night, come to terms with her new direction. It's a pivotal night in a woman's life that Denis packs into 90 minutes that feel effortless and casually observed.

Since writing this capsule, I've seen Denis' feature debut, Chocolat, on video. Not to be confused with the Juliette Binoche/Johnny Depp movie of the same name, this 1988 movie is more conventional than the three Denis movies I mentioned above, but I was glad to see that her sense of subtlety and beauty was already in evidence.
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