Bonjour Tristesse is the ultimate Summer movie as it’s set during a Summer holiday in the South of France, where 18-year-old Cécile (Lily McInerny) is spending time with her father Raymond (Claes Bang) and his latest girlfriend, stunning dancer Elsa (Nailia Harzoune). Cécile spends her days swimming and relaxing with her new French boyfriend Cyril (Aliocha Schneider), living a dreamy existence with not a care in the world.

Things change with the arrival of Anna (Chloë Sevigny), a fashion designer friend of Cécile’s late mother. The change is subtle, but there is definitely a shift in the equilibrium for Cécile, as she becomes uneasy by Anne’s constant probing about her love life, education, etc. Cécile is undoubtedly curious about Anne’s bond with her late mom, and also her dad, but is also bothered by the hold she has on her parents. There’s also a curious sense of jealousy on Cécile’s part regarding her father, given that she rarely spends time with him.

This is a decidedly slow-burning film, and that’s to be expected. I actually find it refreshing, as I have seen plenty of action-packed films lately. We get a glimpse into a complicated father-daughter relationship during a turbulent period marked by teenage desire and sexual discovery. Drenched with beautiful light, the cinematography makes the most of the lush seaside setting. I truly live vicariously through the characters, and at times it made me think, just what problems could these lucky people possibly have?? Of course, human nature is complicated, and stunning scenery is not necessarily a recipe for true happiness.

This is the directorial debut of Canadian writer Durga Chew-Bose, who also wrote the script. I’m not going to compare her work with Otto Preminger’s 1958 version, the first film adaptation of Françoise Sagan’s novel, because I haven’t seen it. I caught a few brief clips of it after seeing this one, and one thing that struck me is that this one is more taciturn and minimalist in its approach. Much of the characters’ emotions are communicated through their facial expressions and body language. Her adaptation is more about the mood and evocative vibe. I was quite mesmerized by the sound of the breeze and gentle waves, and watching the sun gloriously reflected on the blue ocean.

My biggest issue is Raymond’s transfer of affection from Elsa and Anne, which feels too abrupt. Elsa seems to fit Raymond’s carefree and more bohemian nature, but perhaps there is something in their past connection we’re not privy to that attracts him to Anne. Yet there’s an obvious lack of chemistry between them, which is problematic as the entire script hinges on their intense, sudden affair.

This is the first time I’ve seen McInerny on screen, and she fits the part well, though Cécile is not a likable character and comes across like a spoiled brat. She does look more like a teen than Jean Seberg did from the clips that I saw. Bang is tall, dark, and handsome with a certain mystique about him. He’s an actor I’d love to see more of. Sevigny is the main draw for me to see this; she’s effortlessly alluring and mysterious, even if Anne is written as a rather stuffy, joyless woman. She’s always impeccably dressed, and she looks great in the modish clothes by Miyako Bellizzi.

While the film takes its leisurely time, the final scenes feel a bit rushed and rather anticlimactic. A more impactful and satisfying ending could have really elevated this film. Nevertheless, it doesn’t detract from the heartbreaking story that truly reflects its title, which translates to ‘Hello, Sadness.’ The visuals and intriguing camera work by Maximilian Pittner are definitely the best thing about this film. This is one of the prettiest movies I’ve watched in a long time; it could totally serve as a travel ad for the South of France. Despite its flaws, Chew-Bose certainly shows her flair as a filmmaker. I’m curious to see what she would tackle next.

Have you seen Bonjour Tristesse? Let me know what you think!
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