CANNES 2021: Mi iubita, mon amou
Festival de Cannes 2021Coming off the rather strong two-act hot streak of Portrait of a Lady on Fire and Jumbo that propelled the actor into a newfound mainstream spotlight, it isn't too much of a surprise that Noémie Merlant would attempt her elevate her craft by stepping into the director's chair. Screening as part of the 2021 Cannes Film Festival, Mi iubita, mon amour fills this role with being the lead actor, director, and screenwriter for the project. Merlant plays an adventurous woman named Jeanne who is taking a trip through Romania with a group of her friends. Things seem to be going good, but Merlant ends up crossing paths with a 17-year old boy named Nino (Gimi-Nicole Covaci) who she ends up falling in love with.
The immediate thing that probably stands out here is the plot itself and the rather uncomfortable nature of the relationship between Jeanne and Nino. While the western notion of this relationship being seen as pedophilia should be held in the context of the culture where the film is both set and made in – where the age of consent is 15 – the age dynamics are universally uncomfortable. Ultimately, this is a story about a mature woman taking advantage and using a younger boy who is still finding his place in the world in order to selfishly find her own joy and satisfaction. The power dynamics between these characters really do make it hard to empathise and connect with the characters and film overall, which simply doesn't have the craft it needs to pull off such an emotionally complex idea.
This is particularly annoying because quite a bit of the emotion within the film genuinely could have hit rather hard. Mi iubita, mon amour is, ultimately, a film exploring love and the specific concept of the power that sexual attraction and sexual activity can have on a mature individual. It is an exploration of what makes this such an impactful force, which should be rather easy to connect to and feel something from. This is a natural conversation nearly all individuals can relate to in some way, yet the film ends up shooting itself in its foot.
Looking to the side of the screenplay and what the film actually is saying, it should be noted that the actual direction given to the film by Merlant is rather solid. Even when the screenplay is working against her talents, it is clear Merlant understands fundamentally how to evoke emotion and power from how she crafts various scenes and moments. Had the screenplay been stronger, it is easy to assume this would have been a grand dunk of a debut. It will be interesting to see where her career goes next, as she has shown talents both in front of and behind the camera and really could focus on either, making a solid overall filmography that capitalises on the momentum she currently carries.
While Mi iubita, mon amour might not be a disaster, it clearly is lacking in multiple areas. What could have easily been a deeply emotional and touching analysis of love becomes an uncomfortable and ultimately disappointing final product. While many will want to support and champion what comes next for the actor-turned-filmmaker, it is hard to see this one gaining much momentum from western audiences.
