Mia Hansen-Løve’s simplest, most focused film in some time – and surely her most mature yet – returns to a recurrent theme of hers, the way that the different strands of a life intersect and interfere with each other. Here protagonist Sandra is dealing with the rebirth of love, while contemplating the end of a life – her father’s. She is a translator and mother to an eight-year-old daughter, Linn; her father is Georg, a distinguished professor of philosophy whose eyesight and his mind are failing him irreversibly. While she tends to both daughter and father, Sandra encounters an old friend, Clément. His scientific specialism as a cosmochemist leads him to fathom the infinite, while Sandra’s daily concerns seem to strand her on a strictly earthly plane – but there’s always the promise of love.
After the self-reflexive playfulness of BERGMAN ISLAND, Hansen-Løve offers a rigorous but tender study of life’s complexities seen through a lens of pragmatic realism. Léa Seydoux, excelling in the most unvarnished of her recent roles, shines alongside Pascal Greggory, whose status as a French cinema veteran enters a rich new phase in his portrayal of an intellectual facing his twilight. (Jonathan Romney)
Un beau matin
FR/DE 2022, 112 Min., frz OmU
Regie: Mia Hansen-Løve
Kamera: Denis Lenoir
Schnitt: Marion Monnier
mit: Léa Seydoux, Pascal Greggory, Melvil Poupaud, Nicole Garcia, Kester Lovelace