Sandrine Bonnaire

Sandrine Bonnaire

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The Beaches Of Agnes [Les Plages D'Agnes] Review


Excellent
Varda brings a playful attitude to this whimsical stroll through her life, telling stories and showing photos and clips that chronicle both her career and her personal life. It meanders a bit, but it's also thoroughly engaging.

As she celebrates her 80th birthday, the iconic French filmmaker compiles an impressionistic collage of photographs, home movies, new scenes and clips from the classic films she had a hand in. She recounts her career alongside Godard and the Nouvelle Vague, and links her memories together with beaches from near her birthplace in Belgium to Los Angeles by way of Cuba and Cannes. She also installs a beach on a Paris street, occupied by female members of her staff.

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Vagabond Review


Excellent
The English title of Agnès Varda's 1985 masterpiece is accurate enough: The film tells the story of Mona (Sandrine Bonnaire), a young homeless woman who wanders the French countryside during the course of one winter, scrounging for food and shelter before she freezes to death in a ditch. But I prefer the French title, "Without Roof or Rule," because it better encapsulates what Varda successfully does: provide a sort of essay about the meaning of freedom, not just a film about aimless roving. Mona's free-spiritedness has a seductive quality - she seems to generate envy in just about everybody who crosses her path. But Varda powerfully shows how there's an inherent brutality to living without rules, and she does it without ever devolving into melodrama or didacticism.

Mona isn't a particularly likeable heroine. Wearing a perpetual smirk and constantly angling for a sandwich or a handout, Bonnaire's portrayal is downright feral, as if she's gotten to the core of basic human need. And she sadly devolves into the occasional act of self-degradation like sleeping with men for shelter. But she has a snotty, punkish character that makes her compelling to watch - and appealing to the people who cross her path. The brilliance of Vagabond is that while it's essentially a film about poverty, Mona collapses class distinctions. She works in a vineyard with other poor laborers, but she also lives large in a chateau and gets taken in by a well-to-do professor. In brief faux interviews interspersed in the film, people who've met her reminisce about how much more interesting their lives became because Mona was briefly part of it.

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The Color Of Lies Review


Very Good
Claude Chabrol's late-career films haven't been entirely inspired, but The Color of Lies is one of the standouts. It begins simply enough: A young girl has been raped and killed, and her creepy art teacher (Jacques Gamblin) is the number one suspect. He protests his innocence, and wife Sandrine Bonnaire stands by him. Meanwhile, other characters -- none of whom exactly exude compassion or likeability -- enter and exit, and the teacher looks increasingly innocent. But who's the killer? The sole lacking spot here is the dead fish of a police detective (Valeria Bruni Tedeschi), who's ostensibly the hero of the film yet comes off as incompetent and bumbling at best. In fact, better casting all around could have elevated this film to a minor classic.

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La Peste Review


OK
A South American city (presumably Buenos Aires, home town of director Luis Puenzo) gets a little visit by the Bubonic Plague fairy, and all hell breaks loose. Well, sorta. La Peste is actually a pretty sleepy little drama, much in keeping with the dread-packed Camus novel it's based on. Existentialist ennui aside, the story of an American doctor doing his time in a strange land doesn't hold much promise. Puenzo's political commentary gets muddled in with this, and the whole thing becomes a movie with two heads, neither of them compelling.

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Sandrine Bonnaire

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