This is even rounded off by the tonal treatment of a voice-over, which immediately imposes its closeness.
This eloquent, pernicious voice, full of smugness and as manipulative as possible, is obviously that of Matzneff, who continues to whisper in the ear of his victim (and the viewer) in order to justify the abject, in the name of love, the author's behavior.
A sentient voice characterized by the gentleness and grace of the snake, with which director Vanessa Filho (Gueule d'ange with Marion Cotillard) manages to give the predator a quasi-physical “presence” and thus manifest his indelibility Imprint in the psyche of its victim, a girl who has become a woman but is no less persecuted, even if the man has disappeared from his decor for decades.
The film is in the running for the César 2024 for best adaptation; This trophy is absolutely deserved.
Consent stars the young Kim Higelin (granddaughter of the singer Jacques Higelin), who immerses herself in the skin of this little literary-passionate girl, both naive and “intellectually mature” who dreams of a “great love” worthy of his reading . Paul Rouve in the role of the literary predator.
A fantastic rouve! We're not used to seeing him go beyond the realm of comedy; He's so convincing here that it's scary.
Literature and reality interpenetrate
The production establishes a system of constant back and forth between literature and reality.
Literature as a melting pot of ideal loves, passionate and exciting fictions and imaginative relationships. And the reality is prosaic: a lackluster material with disappointing lukewarmness. But the bruises aren't just words: they mark the flesh forever.
This device has its origins in the double meaning of the sentence “Reading a book can change the course of a life,” which Matzneff uttered during a convivial dinner. Things will continue as subtly as possible until the final scene.
Matzneff, an avowed libertine, demonstrated unique sincerity and obscenity in his books. His publications – largely autobiographical in nature, he admitted – revealed the ugliest details of his escapades with very (VERY!) young people… and presented this intimacy under a literary, philosophical and poetic guise.
The director takes advantage of the fact that the author liked to see the intimate and public spheres penetrated and, for her part, explores the interface between reality and literature. The difference is that her story shines with its subtlety and intelligence (as well as a keen sense of ellipsis, need we stress that?).
The film sketches in passing the complicit silence of the Parisian literary world in the mid-1980s, in which the famous writer seems to provide both rain and sunshine. An environment in which Matzneff's pedophilic instincts are notorious, but in which everyone prefers to look elsewhere and is content to vent their embarrassment or disagreement with a funny remark or an educated joke.
This cowardly or conniving attitude extends to Vanessa's mother (character played by Laetitia Casta), who is caught between protective support and laissez-faire. This ambiguous role is all the stranger because the film seems to have moved away from reality and responded to purely dramatic imperatives.
When not delving into the repertoire of Barbara – whose childhood was also stolen by an incestuous father – the score participates in this game of literary fantasy, most notably by evoking Mozart's Don Juan, which served as an echo of Matzneff's seductive speech lower (and prepubescent) Valmont (the protagonist of Dangerous Liaisons).
Consent will be shown in the cinema.
Consent, Trailer (Axia Films)
In the credits
- Rating: 8/10
- Title: Consent
- Genre: Drama
- Director: Vanessa Filho
- Cast: Kim Higelin, Jean-Paul Rouve, Laetitia Casta, Elodie Bouchez
- Duration: 1 hour 58 minutes