Summer with Anna: The Other Elevator (

Even eroticism is only simulated in this difficult movie: “Summer with Anais”

Photo: French Film Week

You don’t have to like movie characters; There are bad characters in the movies, too. But what if you don’t like movie characters who champion the good, even for life itself? Are you then a human hater?

Anais, a 30-year-old doctoral student, lives side by side in Paris. Her motto in life is: “Anything is possible, you just have to want it”, which does not mean that it is a professional motto. Anna loves the moment, literature and love, but only as long as she does not feel restricted, because Anna is stifling. She’s also pregnant, but she doesn’t want children, but no problem either, at least not for Anaïs. Yes to her boyfriend, but he still loves her. Anna will, of course, continue to leave him.

The one who also loves her is publisher Daniel, even though he’s 30 years older or because he’s older than him. Anyone who lives in autumn longs for summer, which the young woman embodies in abundance. But as anything is possible (or Anna wanted it to be), she’d rather fall in love with Danielle’s wife Emily, a writer who finds herself totally in her work. Emily has reciprocated the sentiment, but being an older and modern writer, she knows how to avoid the cliché that love always comes first and makes everything possible.

But we hurry forward, because there is also Daniel, who is visiting his wife in Brittany at a seminar. Annas had the same idea, and Daniel grumbled, “What are you doing here? This is not a movie! And then: ‘Does this triangle excite you? Another cliché! “But the movie doesn’t want to be accused of cliched words, so Daniel no longer plays a role, Anna doesn’t care about it either, and anything that could become comedic out of the triangle doesn’t happen as an outcome.

By the way, Anna’s mother’s cancer is back, and everything is possible on condition of chemotherapy – and where it’s a very bad habit to confuse a movie review with a synopsis, it’s with “Summer with Anaïs” that it only has this content. In short, he has no aesthetic idea of ​​himself beyond the ironic quote from a French Summer Comedy, and when Horace said that art should “create and savor”, that is, to benefit and delight, the script casts itself entirely on utility: we already had the claustrophobia of Anna, she’s avoiding elevators (and what love too!), and Emily, who just finished an essay on Curiosity in a very interesting way, reaches for a wild apple while walking, even more excitingly. . She likes it, but people don’t live on apples alone, and so Emily, who loves Schopenhauer, gives Anna a long lecture at the end about why summer ends in autumn; The fact that the reviewer’s internet is paralyzed and the review movie is suspended is annoying, but it impressively underscores the film’s problem.

He’s lame, he’s tough, and Anna’s lively chatter mimics a movement he doesn’t have, just as lesbian love at the beach mimics eroticism you won’t believe for a second. There is simply no tension between the characters, no tension at all, mainly due to the fact that the main character is very unlikable. While it’s annoying, it’s not the opposite either; It’s absolutely nothing, a screenplay idea, an allegory – and falling in love with a writer is a love of art, and that’s not life, kid, especially when it’s as boring as Valeria Bruni Tedeschi as Emilie.

The fact that the movie quotes love letters to her, which are as cute as love letters, is just a metaphor for what serious adults have known for so long as well as Emily: love is a lot, but not all, just because it is compositions. Or, in the worst case, a movie that doesn’t see itself as more of a love movie than an educational one, that is, it throws its education in at the last minute in a visually very powerful way. In favor of, of course, love, this wonderful wretched elevator. Of course, in order to find this plausible, one must not have seen the movie at all.

“Summer with Anais” France 2021.
Director/Writer: Charline Bourgeois-Tacquet.
With: Anais Demoustier, Valeria Bruni Tedeschi, Denis Boudalidis. 98 minutes Start: July 21.

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