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Starring
A flighty young woman sets out to seduce a lover’s girlfriend in Charline Bourgeois-Tacquet’s charming queer romance.
Amidst an ever-concerning heatwave, a cinematic summer of seduction has made itself known to audiences. Larger films like Good Luck To You, Leo Grande have sat side by side with indies like Claire Denis’ forthcoming Both Sides Of The Blade — yet few films to grace our screens this year have captured queer desire. Answering the drought is Charline Bourgeois-Tacquet’s romance Anaïs In Love, effortlessly strikes a visual language that satisfies the palette, yet leaves a yearning for an unrealised conclusion.
Flighty and caught up in her own thoughts, our heroine Anaïs (Anaïs Demoustier) brings chaos wherever she goes. After meeting Daniel (Denis Podalydès) at a mutual friend’s party, she immediately begins an affair behind her boyfriend’s back. Quickly bored by Daniel’s lack of passion, she turns her attention to his girlfriend Emilie (Valeria Bruni Tedeschi), tracking her down with the intention of seducing her.
There’s a typically common boy-meets-girl patter that evades the narrative of Anaïs In Love, which instead chooses to follow the heady lust of a young woman in over her head. It’s possibly because of her frequent missteps that Anaïs is such a likable character, pleasantly absorbed in her own wants in a way that has an irresistible charm to outsiders. As the anchor of her own fast-paced journey, her hectic zest for change is what moves the film to work as a whole. Anaïs In Love hits the right notes without trying too hard; every line is thoughtful, every movement is needed, and every pause for breath is a renewed chance to fall in love. As far as human emotions are concerned, there’s the perfect balance between talking and physicality, with enough silence in between to consider and digest each attempt of lust.
In terms of sapphic filmmaking, Anaïs In Love is almost able to achieve perfection, the flirtatious dance between Anaïs and Emelie’s unvarnished attentions is seductive in itself. There’s an undeniable chemistry present rarely spoken into existence – yet when it’s acknowledged, it’s electric. Contrary to popular stereotypes in queer romance films, there are no deaths, no period drama, and (whisper it) no bitter endings of forced separation. There’s only hope and possibility, sprinkled with a pull of passion that could lead to better things.
Like many things in life, the subtle downfall of queer love lies in the hands of a man. The film’s first third is enjoyable yet lacks a moreishness, setting Anaïs up for her next course of action while providing laughs at Daniel’s expense. As she quickly recognises, Daniel is a hindrance, keeping viewers from the course of action they know they truly want to be lost in. Even so, it’s a small gripe, and one that ultimately satisfies in the long run.
French queer cinema is striding out at its best in Anaïs In Love, set to be a sure-fire comfort hit for many generations to come. Grab a summer dress, listen to Bette Davis Eyes, and set your heart on the attractive woman dancing in front of you – within is a sure hit of seductive satisfaction.
Little White Lies is committed to championing great movies and the talented people who make them.
Published 18 Aug 2022
Charline Bourgeois-Tacquet is giving summer heat on the coast of Brittany. Should be foolproof.
Commeth the hour, commeth the erratic millennial with her life in total chaos.
No lesbian deaths to be seen and a rubbish boyfriend is put firmly in his place.
By Katie Goh
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Little White Lies was established in 2005 as a bi-monthly print magazine committed to championing great movies and the talented people who make them. Combining cutting-edge design, illustration and journalism, we’ve been described as being “at the vanguard of the independent publishing movement.” Our reviews feature a unique tripartite ranking system that captures the different aspects of the movie-going experience. We believe in Truth & Movies.
