The Passengers of the Night – first-look review | Little White Lies

Festivals

The Pas­sen­gers of the Night – first-look review

13 Feb 2022

Words by David Jenkins

A smiling woman with long dark hair wearing a beige coat against a blurred night-time backdrop.
A smiling woman with long dark hair wearing a beige coat against a blurred night-time backdrop.
This aim­less and thin fam­i­ly por­trait set in 80s Paris is boost­ed by an affect­ing turn from Char­lotte Gainsbourg.

This mean­der­ing and large­ly incon­se­quen­tial fam­i­ly dra­ma from film­mak­er Mikhaël Hers opens on the 1981 elec­tion of François Mit­terand in France, a vic­to­ry which, in Paris at least, has sparked throngs of rev­ellers who clear­ly see him as an ush­er for nec­es­sary change. This ripe polit­i­cal back­drop ends up being a red her­ring, as the close-knit fam­i­ly pre­sent­ed in the film don’t dis­cuss or inter­act with any­thing which might dis­play their strug­gles as emblem­at­ic of soci­ety at large.

On the con­trary: it’s a hushed, inte­ri­or film of shy peo­ple attempt­ing to soothe their world­ly ills through work, fam­i­ly and rela­tion­ships with the odd out­sider. At the cen­tre is the soft­ly-spo­ken matri­arch Elis­a­beth (Char­lotte Gains­bourg) who is still smart­ing from a bout of ill­ness and a sud­den divorce, left with two teenage chil­dren to raise and a seri­ous bout of insom­nia. By chance she’s offered a job as switch­board oper­a­tor on her favourite late-night radio talk show, Pas­sen­gers of the Night, host­ed by the vel­vet-voiced Van­da (Emmanuelle Béart).

This new low-paid gig is not exact­ly a paragon of job secu­ri­ty, but fun and stim­u­lat­ing – a good start on the jour­ney towards per­son­al reaf­fir­ma­tion. It’s there she con­nects with fel­low night­bird Talu­lah (Noée Abi­ta), an 18-year-old drifter who has flit­ted from her par­ents and man­ages to scrape by on the streets. Con­cerned about her youth and vul­ner­a­bil­i­ty, Elis­a­beth invites her over to stay, and she quick­ly steals the heart of pastey, poet­ry-writ­ing son Matthias (Quito Ray­on Richter).

The melan­choly nar­ra­tive drifts rather than charges, and every­thing plays out under a bed of shoegaze‑y ambi­ent music. Which is fine, but there ends up being very lit­tle into which you can tru­ly sink your teeth, main­ly because the dilem­mas and trau­mas faced by the char­ac­ters are not par­tic­u­lar­ly orig­i­nal, or dealt with in an excit­ing man­ner. Gains­bourg is the dra­mat­ic lynch­pin and excels in cloak­ing the wells of pain and sad­ness under glassy expres­sions of world-weary bemuse­ment, yet the oth­er key pro­tag­o­nists, while strong tak­en as indi­vid­u­als, are not able to oper­ate at her lev­el of subtlety.

There’s an inter­est­ing sub-plot in the movie involv­ing the trag­ic French actress Pas­cale Ogi­er, who died at the age of 25 from com­pli­ca­tions stem­ming from drug use. Talu­lah becomes fas­ci­nat­ed by her when she and Mat­tias go to see Eric Rohmer’s Full Moon in Paris at the cin­e­ma, and lat­er goes to see her in Jacques Rivette’s Le Pont du Nord before lat­er learn­ing of her pass­ing. The arc of Talulah’s sto­ry seems to echo that of Ogi­er, and she even wears a sim­i­lar leather jack­et to the one the actor wears in Rivette’s film. Yet the sim­i­lar­i­ties are fleet­ing and – like so much in the film – end up being incidental.

Visu­al­ly, Hers con­nects the scenes with 8mm inserts of Parisian street scenes which are very pleas­ant, but don’t real­ly relate to the meat of the mat­ter. It’s an intrigu­ing cross-cut of a fam­i­ly suf­fer­ing from some mild emo­tion­al trau­ma, but dra­mat­i­cal­ly it’s also a film that seems adamant not to land a sin­gle killer blow.

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