Thoughts On Philippe Garrel’s Lover For A Day.

I took in a screening of Philippe Garrel’s Lover For A Day earlier this week. The film is now screening on Mubi*.

Lover For A Day is a beautiful and tender portrait of stasis and love. Telling the dual stories of a young woman heading out of a relationship who befriends a young woman entering into one, Garrel’s film has a poetic, kinetic energy to it, with the cyclical nature of the structure of the piece elevating the picture to near-biblical status.

This otherworldly feel to the movie is encouraged further by veteran cinematographer Renato Berta’s dreamlike visuals. Soft and monochrome, with the darkest hues of black dominating the image. The content of Garrel’s picture jars with this angelic vision, with the one-time enfant-terrible, who here directs his own daughter Esther Garrel as one of the two leads, unafraid of portraying the inner workings of relationships in all of their explicit detail.

Lover For A Day featured in Cahiers du cinéma’s end of year list for 2017, and makes for a neat capper to Garrel’s Love Trilogy, which began with 2013’s Jealousy and continued with In The Shadow Of Women. With these films Garrel’s late period is shaping up to be the most exciting era of the director’s long career.

* For a free month of Mubi click here.

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