It is lonely being an Anglophone Arnaud Desplechin fan, let alone one based in the U.K. A strong cult generated in the aftermath of his ’00s arthouse hits Kings and Queen and A Christmas Tale survives, but in terms of a theatrical release, his newer work will play once or twice at one-off screenings in the US, then fall to be retrieved (or ignored) in a VOD content library. And in Blighty they have lately got harsh, if uncomprehending reviews, creating further invisibility.
If the quality of Ismäel’s Ghosts, Oh, Mercy! and Deception denotes no fall-off, there’s still the impression Desplechin could use a broader hit to remind everyone how good he is, even as his reputation and industry success in France remains robust; My Golden Days had this exact impact after Jimmy P. disappointed some. Enter Brother and Sister.
Despite reports of boos at its Cannes screening,...
If the quality of Ismäel’s Ghosts, Oh, Mercy! and Deception denotes no fall-off, there’s still the impression Desplechin could use a broader hit to remind everyone how good he is, even as his reputation and industry success in France remains robust; My Golden Days had this exact impact after Jimmy P. disappointed some. Enter Brother and Sister.
Despite reports of boos at its Cannes screening,...
- 5/22/2022
- by David Katz
- The Film Stage
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