Voisin, Benjamin (1996- )

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    ‘Lost Illusions’ Review: The Sweet Smell of Success

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    Xavier Giannoli’s headlong adaptation of a Balzac novel paints a timely picture of literary ambition and media corruption in 19th-century France.A young person from the provinces sets out for the big city, seeking fortune and fame and finding temptation, corruption and ruin. It’s a story that never gets old — there’s usually plenty of lust, ambition and greed to keep the narrative engine humming — and variations pop up in the literature of nearly every nation and era. “Lost Illusions,” Honoré de Balzac’s novel of Parisian literary life, stands as a stellar example in its period and now, thanks to Xavier Giannoli’s invigorating screen adaptation, in ours as well.Balzac, writing in the early 1840s, reached back a few decades to the Bourbon Restoration, a post-Napoleonic moment of high decadence and low scruple, but what he uncovered were some of the perennial principles of modern life. Principles, though, are exactly what his moderns lack. The pistons that keep their world humming along are cynicism and hypocrisy, and brazen amorality winds through every institution they inhabit, from politics to publishing to theater.Into this hive of striving and backstabbing comes Lucien Chardon (Benjamin Voisin), a 20-year-old poet we first meet in his hometown, Angoulême, in Southwestern France. There, he scribbles passionate verses in a sun-dappled meadow and earns his living working in a printing shop. Not that his life is defined entirely by pastoral innocence and honest toil. His hobby is vigorous adultery with Mme. de Bargeton (Cécile de France), a married aristocrat who invites him to read his poetry at artistic gatherings in her chateau.Lucien has aristocratic pretensions of his own. He signs his poems — and, later, his scabrous articles in the Parisian press — Lucien de Rubempré, using his highborn mother’s maiden name. (Lucien’s father, M. Chardon, was a pharmacist.) When Madame’s husband discovers the affair, she takes off for Paris with Lucien and another would-be lover, the Baron du Châtelet (André Marcon), who will eventually be caricatured in the newspapers as an impotent turkey.Lucien has pouty good looks and ostensible literary talent. The baron and Mme. de Bargeton have connections to the Marquise d’Espard (Jeanne Balibar), a powerful figure in royalist circles. What seemed like a lark in Angoulême goes sour in a hurry. Cast out of his protectors’ company — his bumbling naïveté, so sexy in the countryside, is embarrassing in the big city — Lucien finds his way onto the staff of an anti-royalist scandal sheet, where he makes a splash writing criticism, using de Rubempré as his byline.As we follow this rake’s progress onscreen — through editorial offices full of hashish smoke, and on to bistros, bawdy houses and music halls — a narrator lays out how it all works. Balzac, one of the fathers of literary realism, was a pioneer of what a later century would call the systems novel, and his explanatory zeal, far from didactic, is almost always delightful.And so it is in Giannoli’s version. “Lost Illusions” is in some ways a very old-fashioned, supremely French movie, full of costumes and quill pens, sex and speechifying, and stylish acting even in the smallest roles. (The Quebecois actor and filmmaker Xavier Dolan, as Lucien’s well-connected rival, is particularly charismatic.) The novel was turned into a mini-series for French television in 1966, but the breathless sprawl of a longish feature film may serve it better. Balzac was a prodigious coffee drinker, and the movie, though its characters run on champagne and schadenfreude, is nothing if not caffeinated.It is also earnest in its portrayal of cynicism, without being overly moralistic. Lucien’s career is launched when he delivers an impromptu takedown of a book he hasn’t read for an audience of scribblers presided over by a powerful publisher (Gérard Depardieu). Reviews, positive and negative, are bought and paid for through a complex circuit of bribery and extortion. Audiences flock to theaters on a street called “the boulevard of crime” for its sensational offerings. Ovations and boos are purchased from an unctuous fixer named Singali (Jean-François Stévenin).Lucien, egged on by his dirtbag editor (Vincent Lacoste), starts making good money. What he doesn’t lose at the gambling tables he spends on an actress named Coralie (the heart-tuggingly sincere Salomé Dewaels), who becomes his muse, his mistress and the film’s emotional center of gravity. Lucien’s love for her is the only pure thing about him — that and the faith in literature that occasionally flickers amid the hackery.The narrator signals early on that the plot is heading toward tragedy, and further summary would no more spoil “Lost Illusions” than a citation of the law of gravity would spoil a roller-coaster ride. The busy, headlong story, in any case, is a whirring machine for the delivery of piquant ideas about human behavior, and about the workings of a society obsessed with reputation, status and appearance as well as money.It’s a familiar enough spectacle, and if there’s any justice this movie will become a touchstone and cult object among the grasping, scheming denizens of the current media jungle. Giannoli illuminates the dank frenzy of the 19th-century attention economy with an eye on our own post-truth era. “Lost Illusions” is sensational. Nobody paid me to say that. Well, actually, The New York Times did, but you should believe me anyway.Lost IllusionsNot rated. In French, with subtitles. Running time: 2 hours 29 minutes. In theaters. More

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      ‘The Mad Women’s Ball’ Review: A Shock Within the System

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      The French actor-director Mélanie Laurent delivers a feminist melodrama about the abuses of a Paris hospital in the 19th century.In its opening moments, “The Mad Women’s Ball” slowly focuses on the nape of a woman’s neck and the swirl of her hair pinned in a bun. It is an image that may recall Alfred Hitchcock’s “Vertigo.” Here it confirms that the director Mélanie Laurent’s drama — set in Paris in the late 1800s and based on a novel by Victoria Mas — will indeed touch on horrors.The daughter of a status-driven father, Eugénie (Lou de Laâge) appears haunted by spirits. Talking with her grandmother or readying for bed, she’ll begin rapidly breathing, trembling, staring at something that no one else sees. She also tends to speak her mind. To the heartbreak of her loving brother (Benjamin Voisin), Eugénie is committed by her father to the asylum where a diagnosis of hysteria has become all the rage. The soiree of the title was an actual event thrown at the Salpêtrière hospital during the tenure of the famed neurologist, Dr. Jean-Martin Charcot.Depicted here, the gathering is as grotesque as one might fear. It is also a high point in the patients’ comradeship. Eugénie becomes a catalyst, nudging the head nurse, Geneviève (portrayed by Laurent), toward doubts about the ethics of her beloved institution.Laurent has made an elegant if overheated melodrama that amplifies the villainy of Charcot and his colleagues (one proves particularly appalling) to underscore how male-centered the medical establishment was — and is. A feminist work, “The Mad Women’s Ball” grapples, too, with the ways women can be complicit. Emmanuelle Bercot does chilly work as Jeanne, the nurse Charcot calls on to manage Eugénie’s solitary confinement. Move over, Nurse Ratched.The Mad Women’s BallNot rated. In French, with subtitles. Running time: 1 hour 54 minutes. Watch on Amazon. More

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      ‘Summer of 85’ Review: Denim Embraces and Stolen Kisses

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      A gay teenagers’s fleeting romance goes off the rails in this coming-of-age story from the French director François Ozon.When the moody, baby-faced Alexis (Félix Lefebvre) capsizes while on a solo trek off the coast of Normandy, France, he looks up and sees lightning in the distance accompanied by a grinning, Adonis-like boy named David (Benjamin Voisin), his savior and the embodiment of the coming storm.The two teenagers throw themselves into an intense friendship that quickly blossoms into a passionate affair filled with blissed-out motorbike rides on country roads, denim-padded embraces and stolen kisses between work shifts. Frothy pop tunes by ’80s bands like the Cure and Bananarama place Alexis’s sweltering coastal romance in the realm of starry-eyed nostalgia.The prolific French director François Ozon wants “Summer of 85” to be more than a gay coming-of-age romance in the vein of “Call Me By Your Name.” With an elliptical narrative that jumps back and forth from Alexis’s summer fling to an unspecified future in which he is being interviewed by a suspicious caseworker about the death of David, the film also aims to be pulpy and provocative, teasing the idea that its lovesick protagonist turns homicidal with jealousy. It ultimately stumbles in this balancing act and loses sight of its emotional core, but its efforts remain compelling and delightfully bizarre.Loosely adapted from Aidan Chambers’s young adult novel, “Dance on My Grave,” “Summer of 85” sees adolescent romance as outrageous and suffocating in its hormonal potency, yet also fleeting and illusory.Less a character study than an exercise in genre, the film leaves Alexis’s working-class background and the nuances of his sexual awakening unconsidered and undeveloped. Scenes become increasingly bonkers as the film hurdles toward tragedy. For instance, David’s cool mom (Valeria Bruni Tedeschi) cracks after his death and turns into a resentful, wild-eyed psycho-biddy. Alexis teams up with a flirty British au pair who gives him a drag makeover and smuggles him into a morgue. Alexis’s glib narration of the scene unintentionally heightens the absurdity.Yet unlike many recent L.G.B.T.Q. romances that deploy retrograde views on homosexuality as a convenient tool for conflict, “Summer of 85” uses its vibrant throwback aesthetic to situate two gay men in a cultural fantasy typically reserved for straight couples: the date at the carnival that ends in a fistfight with an embittered “ex,” the star-crossed lovers who sneak around and make morbid, lifelong pacts.Toward the end of the film, reflecting on his time with David, Alexis realizes how he has become a character in a fantastic story — a story full of intrigue and drama, yes, but also one that is light and joyous. Too few queer characters, who are often saddled with tragedy, are so capable of moving on.Summer of 85Not rated. In French and English, with subtitles. Running time: 1 hour 30 minutes. In theaters. More