Handsome twentysomething Luc is a trainee joiner, a craft inherited from his doting single dad: a man at once proud of his son’s continuation of their trade, and hopeful that he’ll do something greater with it. When Luc asks his father if he ever wanted to design furniture rather than simply build it, the reply is simple and resigned: “It’s all been done already.” Six decades and 28 features into his career, French writer-director Philippe Garrel seems to be saying something similar with his latest, “The Salt of Tears.” A minor romantic roundelay that deviates little from the essential template of his last three films, it’s very much the work of an artist less preoccupied with innovation than with signature craftsmanship.
Which is not to say “The Salt of Tears,” even within its narrow bracket of ambition, is an especially careful or well-turned example of Garrel’s form.
Which is not to say “The Salt of Tears,” even within its narrow bracket of ambition, is an especially careful or well-turned example of Garrel’s form.
- 2/22/2020
- by Guy Lodge
- Variety - Film News
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