How To Write About Music In Fiction

At aboriginal glance, Non-Fiction (which opens this weekend at the Music Box) ability arise to be a accessory accomplishment from French writer-director Olivier Assayas. The blur is dialogue-driven, as against to advancing a arresting beheld aesthetic, and the conversations assume to spell out the account Assayas wants to communicate. Practically every arena contains some barter about the attributes of accumulation media in the 21st century, and while these exchanges are eloquent, alike provocative, some admirers ability acquisition them a little too clear-cut. Assayas’s characters absolutely agitation the affirmation of account e-books against acceptable print, binge-watching TV shows against activity to the movies, and acquirements about writers via autobiographical fiction against account letters of their claimed behavior. It’s as admitting Assayas—who’s explored these capacity afore in such films as Late August, Aboriginal September (1998), Demonlover (2002), and Clouds of Sils Maria (2014)—simply capital to accord announcement to his conflicted animosity on postmodern life, storytelling be damned.

Yet Assayas, one of the best important and adroit active filmmakers, has added on his apperception than aloof a My Dinner With Andre-style talkfest. Non-Fiction is not alone about the capacity it declares itself to be about; it’s a attenuate brainwork on what it agency to cross them in a apple area the band amid accessible and clandestine cocky seems added blurred. The arch characters are all adroit in some way, and Assayas suggests that their duplicity is artlessly accustomed behavior in a association that encourages bodies to actualize circuitous accessible personas that draw on their clandestine identities after absolute too abounding animal truths. The appearance of Léonard Spiegel (Vincent Macaigne) embodies the association to a T. He writes novels that are agilely buried accounts of his clandestine life, admitting he insists that his assignment is fiction, not autobiography. His animated abnegation to altercate his claimed activity (as against to his writing) gets him into hot baptize not alone with the bodies he writes about, but with readers and interviewers who anticipate they apperceive the accuracy about him. Despite the ability of Assayas’s dialogue, the characters hardly agitation Léonard’s cryptic moral position, which is a attestation to the subtlety of Non-Fiction. Assayas leaves it up to the admirers to agitation the film’s best arduous provocation.

Léonard is cheating on his wife, a political adviser called Valérie (Nora Hamzawi), with Selena (Juliette Binoche), the extra wife of his editor, Alain (Guillaume Canet). Alain, in turn, is cheating on Selena with his aide Laure (Christa Théret). None of the characters feel decidedly accusable about actuality unfaithful, which shows how calmly they can abstracted their accessible and clandestine selves. (It’s account acquainted that the film’s aboriginal French title, Doubles Vies, translates to “double lives.”) Yet for all the characters’ self-consciousness—about their actions, their politics, and their position aural the zeitgeist—they don’t assume decidedly self-aware. That is, they don’t apprehend the admeasurement to which they reflect attitudes in the ability they affirmation not to like. This absolute amaurosis is adequately pathetic, but it additionally makes one affliction acutely for the characters. Watching Non-Fiction, you basis actively for them to use their accuracy to see above themselves, to acquire some faculty of albatross for what they do. Whether the characters advance charcoal cryptic up until the end of the film, addition assurance of Assayas’s acute caginess.

Joanna Hogg’s autobiographical ball The Souvenir (which opens this weekend at Aeon Centre) is active in addition way that I oughtn’t altercate too anon here. The blur contains one of the best abominable revelations in contempo movies; about center through, Hogg exposes article about the arch characters that armament you to reevaluate about aggregate she’s apparent you about them up until then. It’s an able activity that’s so abundant added than a anecdotal trick. The adumbration doesn’t adapt the film’s capital capacity (innocence, advancing of age, affecting dependency), but rather deepens them and takes them in a darker direction. It additionally dovetails beautifully with Hogg’s beheld aesthetic, which is congenital about an admirable faculty of off-screen space. The British writer-director has continued cited French filmmaker Robert Bresson as a above influence, and like him, she knows how to comedy on her viewers’ imaginations through the accurate alternative of what she does and doesn’t present. The access came through best effectively in her aboriginal two affected features, Unrelated (2007) and Archipelago (2010), in which she had acute arguments booty abode off camera while the on-screen activity consisted of added characters reacting to them. In The Souvenir, she structures the accomplished ball in such a fashion, befitting the film’s best important battle concealed until she can no best abstain it.

The blur takes abode in London in the aboriginal 1980s. Julie (Honor Swinton Byrne, the babe of extra Tilda Swinton, who additionally appears here) is a blur academy apprentice in her aboriginal 20s alive on a social-realist ball for her final project. As in her 2013 affection Exhibition, Hogg realizes the art apple in alive detail, admitting it about exists as the accomplishments for an interpersonal adventure about Julie’s activity with an earlier man called Anthony (Tom Burke) who works for the Foreign Office. Anthony is fussy, disdainful, and priggish, but he’s additionally amusing and knows a lot about art (the cine takes its appellation from a Fragonard painting he takes her to adore at a museum); some of the added important conversations Hogg dramatizes activity the backdrop of cinema and added aesthetic media. Julie bound becomes in chains to Anthony, not aloof bubbler in his assessments of art, but afterward him to every amusing accident he wishes to attend. The activity appears somewhat one-sided, with Julie appearing Anthony’s protégé as abundant as his lover. An ever-understated dramatist, Hogg doesn’t accomplish this aspect of the accord the film’s focal point; she makes bright how Julie’s concern and assurance as a beginning filmmaker carries over to her clandestine life. Still, article awesome floats aloof below the apparent of The Souvenir, hinting at the admirable adumbration to come.

In all her films, Hogg has approved herself to be a agog eyewitness of the bond bonds that tie bodies together. The bonds in The Souvenir are harder to suss out than in her antecedent work, banishment admirers to abstraction attenuate behavioral clues for hints as to what keeps Julie and Anthony complex with anniversary other. Hogg guides one’s absorption not alone through what she chooses to present, but through her abetment of what appears in the frame. This is the aboriginal affected affection that Hogg has attempt on celluloid, and she makes ablaze use of bank focus to accumulate you keyed in to specific details. Generally alienated advanced shots, Hogg renders the axial accord as article of a prison—only in the movie’s adverse additional bisected do you appear to accept what the confined are fabricated of.   v

Directed by Olivier Assayas. In French with subtitles. R, 108 min. Music Box, 3733 N. Southport, 773-871-6607, musicboxtheatre.com, $9-$11.

The Souvenir &#9733&#9733&#9733&#9733Directed by Joanna Hogg. R, 119 min. Aeon Centre Cinema, 2828 N. Clark, 773-248-7759, landmarktheatres.com, $10-$12.50.

How To Write About Music In Fiction – How To Write About Music In Fiction
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