Review: In ‘Last Summer,’ an illicit relationship takes root in all its messy provocation

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As a movie lover with a deep appreciation for provocative and thought-provoking films, I cannot help but be drawn to “Last Summer,” the latest offering from French director Catherine Breillat. This film is not an easy watch, but it’s a compelling study of human behavior that leaves a lasting impact.

Anne, a prosperous lawyer and mother, engages in an indefensible relationship with her 17-year-old stepson, Théo, in the thought-provoking French film “Last Summer” by director Catherine Breillat. Breillat neither defends nor condemns Anne’s actions; instead, she explores the complexities of human behavior when the allure of desire disrupts even the most stable of lives.

In simpler terms, Taboo French dramas may bring to mind the idea of classic art-house films with their suggestive allure. However, Breillat stands out as a skilled provocateur with a meaningful agenda. For over four decades, she has challenged film portrayals of sex, love, and the intricate relationships between men and women. In “Last Summer,” we encounter Anne, brilliantly portrayed by Léa Drucker in a raw, award-worthy performance, offering more than just titillation – it presents a woman’s perspective in its full complexity.

The movie begins boldly as Anne sits in her law office, preparing a tearful teenager for court testimony about a sexual assault. She cautions her client about the potential judgement they may face. Afterward, Anne returns home to a peaceful suburban existence: two lovely young daughters, a devoted and hardworking husband, a cozy house nestled among trees. Although she finds dinner parties monotonous, Anne enjoys connecting with her feisty sister and cherishes her family.

In simpler terms, Théo (played by newcomer Samuel Kircher), facing issues at school and worry from his dad, Pierre (Olivier Rabourdin), returns home. Although Théo seems like a typical summer crush, he exhibits an unrefined and stubborn demeanor which neither Kircher nor Breillat portray as calm. Anne, played by Anne, likely sees Théo as a domestic issue to handle, with Pierre taking the lead in dealing with him.

Samuel Kircher and Léa Drucker in the movie “Last Summer.”
(Sideshow / Janus Films)

In the course of unremarkable living together, the days blend indifferently until Anne exhibits a hint of intrigue. This is initially observed in her unexplained absence to mingle with Théo at a tavern. The authenticity of the chaos that follows hinges on the exceptional abilities of both the lead actor Drucker and director Breillat. Drucker skillfully portrays how even an upstanding individual can slip unawares into turmoil, while Breillat meticulously captures every intricate detail through masterful camerawork and staging that often goes overlooked but generates profound emotional resonance.

The unexpected circumstances leading up to their first kiss, with Théo out on business and Anne and him looking at something on a phone, showcases Breillat’s skillful storytelling. Later, Anne expresses that their sexual encounter should never be repeated, but inevitably it happens again. The plot doesn’t focus on the sex scenes or seduction, yet it subtly conveys that the affair persists. Anne’s efforts to hide it from her husband take on a comically desperate tone, creating an air of forbiddenness around their passionate encounters.

As a movie buff, I’d describe it this way: In one of the film’s intimate moments, the camera focuses on Anne as she experiences intense pleasure during one of her three sexual encounters. This scene was inspired by a Caravaggio painting, according to the director Breillat. Anne’s satisfaction is palpable, yet this moment takes place within a questionable relationship. Her excitement is undeniable – at one point, we see her driving in her car blasting a seductively catchy Sonic Youth tune.

Since her first film in 1976, “A Real Young Girl,” Breillat has been drawn to creating unsettling narratives. This movie focused on a teenage girl’s exploration of sensuality without regard for propriety. Unfortunately, this film was kept from being released for many years not due to its content, but because the story revolved around the girl’s unrestrained desires, rather than the audience observing her (In a recent interview, Breillat stated offhandedly, “Eroticism is men viewing women as commodities.”).

After that, Breillat has become renowned for her significant body of work exploring the ways women and adolescents perceive and express their sexuality (reminiscent of Jane Campion’s films). Notable pieces from her collection include “Fat Girl” (2001), which portrays a 12-year-old girl’s burgeoning sexuality alongside her older sister during their vacation, and “The Last Mistress” (2007), where Asia Argento plays a role in a brutal power struggle over male affections.

In her professional life and in “Last Summer,” Breillat has focused on exploring unbalanced and potentially harmful power dynamics due to her awareness of the existence of oppressive gender norms. She believes that personal growth frequently entails breaking rules, regardless of societal acceptance — a notion she argues is rarely granted when it comes to women’s sexuality.

In simpler terms, “Last Summer” by Breillat appears more commercial with less shocking content compared to her past works. However, her unique perspective and keen observations remain unyielding. At 75 years old, Breillat persevered through a stroke in 2004 that left her partially paralyzed, resulting in a decade-long break before this project.

In recent movie scenes, there was a lot of complaining about the lack of sexual content in new films. But I’ve always appreciated the boldness of filmmaker Breillat, and with her latest release “Last Summer,” she proves that she’s still here, making waves as only she can.

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2024-07-18 18:31