Berlin Review: Charlotte Gainsbourg In ‘The Passengers Of The Night’
13.02.2022 - 22:45
/ deadline.com
We’re back in 1981 — among placards, lapel badges and whooping young people. François Mitterand, a socialist, has just been elected president of France. It isn’t a date that resonates much now — certainly not outside France — but the palpable sense of excitement in the opening scene of Mikhael Hers’s Berlin Film Festival competition entry The Passengers Of The Night suggests we are about to take a sweeping look at lived history.
On to 1984, with Lloyd Cole’s “Rattlesnake” playing over a carefree scene of two boys on bicycles; again, there is the remembrance of things not long past.
After that, there is more of a sense of history abandoned as the story closes in on Elisabeth (Charlotte Gainsbourg) and her children: university student Judith (Megan Northam) — whose interest in a broader world will soon take her out of the household to a communal flat, her activism barely discussed — and son Matthias (Quito Rayon-Richter), an earnest, decent boy of 14.
Elisabeth is a caring, companionable mother who has never had a job. When her husband — acknowledged, but never seen — leaves her for another woman, she must quickly take on another kind of life altogether.
There are details of Elisabeth’s desertion that Hers gets exactly right. Her inability to eat, her renewed determination to cook, clean and nurture everyone else. And the nights she spends drearily, insistently awake, which leads her to the door of an all-night confessional radio show called “Passengers Of The Night,” where the presiding show host, a virago with the witchy name of Vanda (Emmanuelle Béart) gives her a job answering the telephone to talk-back callers. What desperate person, after all, would not feel better hearing Charlotte Gainsbourg’s silken voice on the
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