Sévigné

Sévigné is a film about the production of a play. This movie loves art. That’s very much the film’s focus; an excited exploration of art. It’s less excited about exploring the human condition. Which is a real shame because what I’m looking for in my art is a reflection of the human condition. Instead of doing that, Sévigné is more of an artistic medium reflecting another artistic medium.

The film takes place in the Barcelona theatre scene. Julia is a director with aspirations on bigger, more creative projects. She feels largely stymied by her husband in both her creative and personal life. Then, Julia meets Marina, a playwright and lesbian. Together, the two develop a passion for adapting a play about Madame de Sévigné. This project was something Marina had previously been working on with an ex. But with Julia’s collaboration, Marina departs heavily from her previous version. Together, the two explore and discuss the potential themes and structure of the play. Through all of this, chemistry sizzles. Marina openly admits that part of her interest in this project is her shallow attraction to the heterosexual Julia.

My main critique of Sévigné is that I was bored. I don’t have anything particularly intelligent to say about the film, I just thought it was dull. I’m not familiar with Madame de Sévigné and not overly interested in the production of plays. And as lead characters, Marina and especially Julia never really interested me. I didn’t ever really care about their professional nor personal issues. And that’s really the sum total of the movie so, I didn’t care about much.

As much as the film seems preoccupied with its love of art, the core of the film is long dialogue scenes between Marina and Julia. Their relationship very well could have and perhaps, should have been the focus. There is a weird and interesting dynamic where they begin method acting the characters in their play. The characters are a mother and daughter. So that’s fucked up. But this isn’t really the kind of movie to dive head-first into that fucked up dynamic. So it’s comparatively underplayed. And again, I end up bored because I enjoy seeing a fucked up dynamic onscreen.

The ending of Sévigné really brings down my appreciation for the film. Not that I was having a great time before. But the ending feels rushed as hell. It’s primarily done in a voiceover from Marina. Voiceover hadn’t been used previously in the film. This makes it feel like the movie just didn’t know how to end without taking the easiest, most direct route to summing up the film. And after this voiceover, we also get a character looking directly to camera and giving advice. The advice? Committed relationships rarely come from very passionate romances. Instead, settle for the stable person. That’s sort of a lame note to go out on. And also, who asked you, fictional character? Why would I take advice from you? You’re not even real!

It’s possible that Sévigné is a perfectly fine movie. I just didn’t enjoy it. I found the characters primarily uninteresting and the focus on the creation of a play even more so. There just isn’t really anything here that warrants a recommendation.

Overall rating: 4.3/10

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