Cinema Without Borders: Struggles of a girl in ‘One Fine Morning’
6 min readExpress News Service
Film: One Fine Morning
French actress Lea Seydoux has had fairly a formidable run in the previous couple of years. After her breakthrough efficiency in Abdellatif Kechiche’s Blue is the Warmest Colour (2013), as a Bond lady in Spectre (2015) and No Time To Die (2021), Seydoux was putting in Bruno Dumont’s middling satire France (2021). Crimes of the Future (2022). But it’s in Mia Hansen-Love’s One Fine Morning(2022) that one finds Seydoux at her most extraordinary because the unusual Parisian Sandra.
Sandra is an Everywoman. A single mom elevating an eight-year-old lady. A daughter taking good care of an ailing professor father and desperately in search of nursing dwelling for him, one thing his pension can’t fairly pay for. A girl unexpectedly discovering love in an outdated friendship. She is as robust as she is susceptible, stoic as a lot as delicate.
In the semi-autobiographical, naturalistic world of Hansen-Love there’s barely any drama propelling the narrative. Tension emerges from a door {that a} man affected by neurodegenerative illness is unable to open, the lack to suppose that the person of concepts is fated to get with or a sudden rush of tears compelled by the overwhelming burden of disappointment that may embarrass you in entrance of a stranger.
Hansen-Love builds One Fine Morning on the quotidian, the day by day rhythms of any lady’s life in any nook of the world. It’s within the commonplace that one feels an unusual affinity with Sandra. So many people, like her, are whirling at that time in our lives once we are caught between twin, antithetical pulls—getting older mother and father are the reason for our anxieties, fears and deepest of insecurities, and the younger have calls for of their very own even whereas signaling hope for the long run. Then there may be the soothing, therapeutic interlude of affection that can be interrupted by strife of its personal. In attempting to maintain up with the relationships closest to her, lies Sandra’s battle to seek out house, time, and allegiance for her personal self. One Fine Morning dwells so much on all of it with out saying a lot in any respect.
The largest takeaway from the movie is about how there will be no strict compartments in life. At any time limit, it’s all in regards to the compatibility of the incompatibles, simultaneity of the irreconcilables, and having the nice and unhealthy in equal measure. Happiness can unexpectedly break in by the clouds of gloom. Loss and longing, grief and need can go hand in hand. The finality of mortality will co-exist with a vital continuity that underlines the circle of life.
Hansen-Love and Seydoux collaborate in nice concord whereas plumbing the emotional depths of a seemingly unremarkable state of affairs in life and take the viewers alongside on a most affecting journey. I used to be lucky to have caught One Fine Morning within the firm of Hansen-Love and Seydoux when it opened at Cannes.
Hansen-Love spoke about how the movie tells the story of “mourning for someone who is still alive”, a person getting abandoned by his thoughts, disappearing as a soul however nonetheless “prisoner of his physical state”. Sandra should let go, overcome the guilt of abandoning all that’s dire in probably the most compelling bond
of her life, and free herself to return alive for herself. In a nutshell, One Fine Morning is a journey into the guts of those inexpressible emotions.
French cinema has had an eventful 2022. For the Oscars, the nation would have needed to decide from, amongst others, Hansen-Love’s labour of affection, veteran Claire Denis’s Stars at Noon, a sultry love story within the instances of COVID and political turbulence, and Saint Omer, documentary filmmaker Alice Diop’s harrowing first characteristic in regards to the trial of an immigrant mom accused of killing her little one. That’s the way you outline the embarrassment of riches in cinema.
Film: One Fine Morning
French actress Lea Seydoux has had fairly a formidable run in the previous couple of years. After her breakthrough efficiency in Abdellatif Kechiche’s Blue is the Warmest Colour (2013), as a Bond lady in Spectre (2015) and No Time To Die (2021), Seydoux was putting in Bruno Dumont’s middling satire France (2021). Crimes of the Future (2022). But it’s in Mia Hansen-Love’s One Fine Morning(2022) that one finds Seydoux at her most extraordinary because the unusual Parisian Sandra.
Sandra is an Everywoman. A single mom elevating an eight-year-old lady. A daughter taking good care of an ailing professor father and desperately in search of nursing dwelling for him, one thing his pension can’t fairly pay for. A girl unexpectedly discovering love in an outdated friendship. She is as robust as she is susceptible, stoic as a lot as delicate.
In the semi-autobiographical, naturalistic world of Hansen-Love there’s barely any drama propelling the narrative. Tension emerges from a door {that a} man affected by neurodegenerative illness is unable to open, the lack to suppose that the person of concepts is fated to get with or a sudden rush of tears compelled by the overwhelming burden of disappointment that may embarrass you in entrance of a stranger.
Hansen-Love builds One Fine Morning on the quotidian, the day by day rhythms of any lady’s life in any nook of the world. It’s within the commonplace that one feels an unusual affinity with Sandra. So many people, like her, are whirling at that time in our lives once we are caught between twin, antithetical pulls—getting older mother and father are the reason for our anxieties, fears and deepest of insecurities, and the younger have calls for of their very own even whereas signaling hope for the long run. Then there may be the soothing, therapeutic interlude of affection that can be interrupted by strife of its personal. In attempting to maintain up with the relationships closest to her, lies Sandra’s battle to seek out house, time, and allegiance for her personal self. One Fine Morning dwells so much on all of it with out saying a lot in any respect.
The largest takeaway from the movie is about how there will be no strict compartments in life. At any time limit, it’s all in regards to the compatibility of the incompatibles, simultaneity of the irreconcilables, and having the nice and unhealthy in equal measure. Happiness can unexpectedly break in by the clouds of gloom. Loss and longing, grief and need can go hand in hand. The finality of mortality will co-exist with a vital continuity that underlines the circle of life.
Hansen-Love and Seydoux collaborate in nice concord whereas plumbing the emotional depths of a seemingly unremarkable state of affairs in life and take the viewers alongside on a most affecting journey. I used to be lucky to have caught One Fine Morning within the firm of Hansen-Love and Seydoux when it opened at Cannes.
Hansen-Love spoke about how the movie tells the story of “mourning for someone who is still alive”, a person getting abandoned by his thoughts, disappearing as a soul however nonetheless “prisoner of his physical state”. Sandra should let go, overcome the guilt of abandoning all that’s dire in probably the most compelling bond
of her life, and free herself to return alive for herself. In a nutshell, One Fine Morning is a journey into the guts of those inexpressible emotions.
French cinema has had an eventful 2022. For the Oscars, the nation would have needed to decide from, amongst others, Hansen-Love’s labour of affection, veteran Claire Denis’s Stars at Noon, a sultry love story within the instances of COVID and political turbulence, and Saint Omer, documentary filmmaker Alice Diop’s harrowing first characteristic in regards to the trial of an immigrant mom accused of killing her little one. That’s the way you outline the embarrassment of riches in cinema.
