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<\/p>\nFor Mia Hansen-L\u00f8ve cinema and life work together. Without nostalgia, the French director builds her films around her own experiences and merge realism and poetry with a flowing passage of time. In \u201cOne Fine Morning\u201d she once again dives into the personal and returns to her beloved Paris. In her Isabelle Huppert- helmed \u201cThings to Come\u201d, her previous film set in France, she examined her mother. This is a love letter to her father. It\u2019s deeply moving.<\/p>\n
Hansen-L\u00f8ve was born into philosophy. Both of her parents worked as philosophy teachers in Paris. In \u201cOne Fine Morning\u201d an older father is physically in decline. Unlike the mother in \u201cThings to Come\u201d he\u2019s not the main character. \u201cOne Fine Morning\u201d focuses instead on his daughter Sandra (L\u00e9a Seydoux). She is a young widow raising her daughter and working as a foreign language interpreter and translator. Her life is overwhelming. She rotates visits with her father Georg (Pascal Greggory), who once was a brilliant mind and worked as a philosophy teacher. The father suffers from a neurological condition that affects speech and vision and his ability to comprehend his surroundings diminishes (Hansen-L\u00f8ve\u2019s own father suffered from a similar disease and passed away during the pandemic). Simultaneously Sandra meets her old friend Cl\u00e9ment (Melvil Poupaud) and they fall in love. He is a married dad.<\/p>\n
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Hansen-L\u00f8ve weaves together a slice of life that feels huge in the small.<\/p>\n
Truthful and observant, she once again creates cinema with an impressive pureness and rhythm. Even though this turning point in Sandra\u2019s life is crucial, the filmmaker never tries to dramatize the events and relationships – sentimentality and melodrama is just not her cup of tea. When Sandra, and her mother and sister (Nicole Garcia and Sarah Le Picard), deal with the devastating task of moving the father to several care facilities, Hansen-L\u00f8ve also pays tribute to the people working there, but also to Paris an ordinary day.<\/p>\n
The film flies by like a wind. You realize that things already happened after they happen. Hansen-L\u00f8ve\u2019s most concrete characteristic throughout her films is the characters in motion \u2013 which she started with 2009 in her breakthrough \u201cFather of My Children\u201d. Combining a stripped down script and editing with long time collaborator Marion Monnier, she tells what is needed and let you fill the gaps and feel the gravity \u2013 time shrinks. Her attributes are to avoid the trap of big gestures or dressing the story in hip cover. Instead Sandra in \u201cOne Fine Morning\u201d experiences these moments with a sort of lightness. When Cl\u00e9ment touches her emotions, she still remains patient and realist. But inside her it bubbles.<\/p>\n
L\u00e9a Seydoux owns the role as Sandra. In one of her best performance, her eyes, body languages and gestures tell what happens under the surface. Sandra is grace, in an intensely emotional period. Not only with her father but also with the romance that starts and ends and starts again. Ordinary yet unique with a more similar look to \u201cBlue is the Warmest Color\u201d (but without the blue) than to \u201cMidnight in Paris\u201d or \u201cNo Time to Die\u201d, Seydoux moves through the film smoothly.<\/p>\n
Her father George is wonderfully played by Pascal Greggory, who is most famous for Eric Rohmer\u2019s films where he talked a lot. Here he has lost the words. For Sandra it\u2019s important to not throw away her father\u2019s collection of books (and therefor his memory) when he has to move around the care facilities \u2013 \u201cthe body is the envelope, books are the soul\u201d. Language is also a theme in \u201cOne Fine Morning\u201d. Sandra works as a interpreter and translator, both from German and English, and the silence and speech problems of a former philosophy teacher, who was devoted to the beauty of language, makes it even more touching.<\/p>\n
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Hansen-L\u00f8ve knows how to bring out great performances. Her own life changed when she as a 16-year-old teenager got a role in Olivier Assayas\u2019s “Late August, Early September” in 1998.<\/p>\n
During those four days of acting she realized she wanted to work with films. She chose to direct and became life companion with Assayas a few years later. Now considered as one of France most important filmmakers, she returns to form with \u201cOne Fine Morning\u201d. After Swedish F\u00e5r\u00f6-set and English speaking \u201cBergman Island\u201d and India-set \u201cMaya\u201d, she finds her strength again. It\u2019s in France\u2019s autobiographic water Hansen-L\u00f8ve creates the perfect tone and feels most fluid, just like her \u201cThe Father of My Children\u201d, \u201cGoodbye First Love\u201d, \u201cEden\u201d and \u201cThings to Come\u201d.<\/p>\n
As embodied in the title \u201cOne Fine Morning\u201d, there is openness, easiness and ambiguity, and a strong bond to \u201cThings to come\u201d (in French called \u201cL\u2019Avenir” – The Future). At the heart of the film people try to find meaning in existence and Hansen-L\u00f8ve shows the way they should go. It\u2019s about the impossibility of ending time, but instead embracing it.<\/p>\n
Grade<\/strong> : A-<\/p>\n Check out more of Niclas’ articles<\/a>.<\/p>\n Here’s the trailer of the film<\/strong>.<\/p>\n