The first plays an elderly actress, ready to publish her memoirs. Binoche gives shape to her daughter, who remembers the events described by her mother very differently.
Hirokazu Kore-eda (Our little sister, Shoplifters) proves once again in his foreign debut that he has a keen eye for human inability, also when it comes to the family troubles of a film icon with a sharp tongue and a colorful past. Because in the end everyone has their own truth and we all want to be seen and appreciated. That his story is set in the film environment, however, tends to navel-gazing. While the naturalistic everyday character of his best films is also largely lacking.
Still, the fireworks between his two protagonists remain a joy to watch. “I’m an actress! Why should I stick to reality? That’s boring, isn’t it? ”Says Fabienne (Deneuve) to her daughter Lumir (Binoche), who has come from abroad with her husband (Ethan Hawke) and their 10-year-old daughter. She has great difficulty with her mother embellishing, twisting, and obscuring truths: “Contrary to what is written, you really have never taken me out of school! And why don’t you mention Sarah’s name anywhere? “
Who this Sarah is remains shrouded in mystery for a long time. It soon becomes clear that Fabienne is not the only one playing with reality. Lumir, who earns her living as a screenwriter, does it just as hard. Just like the Japanese writer-director of this film, who meanwhile enthusiastically winks at Deneuv’s career and image. Without losing sight of the fact that even the biggest stars are ordinary people.
✭✭✭✩ (3.5 out of 5)