Revision | French release – The similitude of a life of appearances

Released directly on digital platforms, Exit à Francesa has a singular narration, a measured and slow pace, as if it could not get out of its place. The question of the non-development of life is linked to the actions of the characters which border on an almost forced naivety within a selfish and inconsequential essence. Directed by Azazel Jacobs, with a screenplay by Patrick DeWitt (based on the book of the same name), the project can even be seen as a grand therapy session, as if the issues appear in front of us, personified by the complex characters who make circulate the daily life of the protagonist played by the always great Michelle Pfeiffer.

In the plot, we meet Frances (Michelle Pfeiffer), an American socialite (indifference in person) who for years spent all the fortune she inherited from her marriage to her late ex-husband. She lives with her only child, Malcolm (Lucas Hedges), a shy boy with little social interaction. One day, advised by her accountant, Frances realizes that her money is exhausted and that her only option, and even helped by a friend, is to move into a small apartment in Paris to live the last days of her comfortable life.

Nominated for a Golden Globe for Best Actress, the film revolves entirely around its protagonist. Jacobs looks for detail and such depth in emotional themes that are complicated to show, combined with comfort, conversations with the afterlife, an encounter beyond therapy, in many moments it even feels like to be in the audience of a play. Through the streets of modern France, unassuming memories, situations that show the end of the line, the arrival of the extreme, all coupled with a charming soundtrack that deserves to be highlighted.

On the precipice, when she no longer sees her own morality, the main character enters an intense deconstruction (in a way, the limited son too) and reaching this climax is a slow path but with a certain brilliance due to the Impact of Michelle Pfeiffer’s performance, she on stage manages to grab everyone’s attention, completely dominating an interpretive and ambiguous character.

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