“Even Lovers Get the Blues”
A Look at Modern Love
Ana is sleeping with Hugo, Dalhia with Graciano who does not know where he is in life, Léo with Louis, and Arthur is sleeping with everyone in Belgian director Laurent Micheli first feature film. One night, Hugo doesn’t wake up, and Anna begins to mourn him by reconnecting with his body, abusing it, listening to it, ignoring it and, finally, freeing it. All the characters cross paths in the randomness of the Brussels night and then once again in the countryside. Love here takes on a number of different forms.
The story, which begins in the cold of Brussels’ winter, migrates, with spring, to a rural lakeside, before coming to a close in the summer heat of the city’s secret gardens. We visit the bathroom in a bar, a nightclub, have sex on a sofa bed, go to a deserted beach where bodies come together and loves are lost, searched for and are, sometimes found again. The characters’ paths cross and uncross, couples are created and then unmade and there is experimentation with an ever-evolving sexuality as our characters search for the kind of thrills that make them feel alive. We see the unease of this generation in an insecure society that wants and tries to reinvent sex and love.
Director Micheli dares to present confronting sex scenes that are far removed from the norms of the era. The sexual freedom that we see on the screen portrayed explicitly on the screen represents the idea of formal freedom. The film has a sense of vibrancy that is free from the cinematic language that so many adhere to and this freedom carries a burden of awkwardness, but brings real freshness into the film as it portrays the characters’ procrastination in their quest for meaning and freedom in their life.
For the actors (Gabriel da Costa, Adriana da Fonseca, Marie Denys, Séverine Porzio, Arnaud Bronsart, Tristan Schotte) this is their first film role and in their private lives, they all have the conviction and frivolity of their characters.