At the same New Orleans French Film Festival where I saw an aging auteur say goodbye to her audience in a direct, personable way in the wonderful Varda by Agnès, it was difficult to not feel let down by the insincere, unceremonious goodbye of Celebration. Whereas the Varda film invites the audience into the heart & mind of its director/subject before they disappear from the world forever, Celebration keeps the audience at a guarded, cold distance. Maybe that distanced approach is more appropriate for Celebration’s more curmudgeonly subject, but it makes for a much less engaging & coherent film as a result. What’s fascinating about that difference between these two works to me is that the superior Varda by Agnès was seemingly constructed & distributed with casual ease in its director’s dying days, whereas Celebration has been fighting for its right to exist for decades – finally arriving long after its subject’s death and, maybe, long after its own expired significance.
The occasion for Celebration is the final show for legendary fashion designer Yves Saint Laurent, filmed in 1998. The title is deliberately ironic, as the entirety of the preparation & execution of this event is thoroughly somber in tone. You could maybe blame that grim atmosphere on the significance of YSL’s retirement, as his was reportedly the last of the great haute couture houses still in operation under their original designer. In practice, it’s clear that the sour mood is more a result of YSL’s own everyday temperament. He skulks about with a constant, disapproving frown that only lights up when he pampers his pet bulldog or encounters the gorgeous, young supermodels who advertise his creations. He hardly speaks at all in the film, retreating mostly to black & white solitude while his hundreds of uncredited employees do most of the day-to-day work in grainy flurries of color. YSL gives his documentarians very little to work with, and even just that morsel was yanked away from them in post-production.
Initially shot in the late 90s on 16mm film, Celebration took nearly a decade to fully shape itself into a proper feature – an early draft of which premiered at the Berlin International Film Festival in 2007. It has since been bullied out of existence by the closest business partners of YSL (who has since passed away). Their protectiveness is somewhat understandable, as the void created by YSL’s grumpy isolation is filled by his closest collaborators’ unseemly vanity & aggression while staging the show. In short, the movie is bad PR. It easily could have padded its thinly-provided raw material with a glowing career overview of YSL’s significance in Haute Couture. Instead, it allows a few glimpses at Art History-inspired gowns & women’s tuxedos to substitute that background info. Most of the runtime is dedicated to capturing the eerie, miserable atmosphere behind the scenes at YSL’s final show – accentuated by a creepy score from horror cinema composer François-Eudes Chanfrault (who has also passed away during the wait for this film’s release).
Without any contextual info about how this late-career misery differs from YSL’s earlier, more youthful fashion shows, this behind-the-scenes glimpse fails to communicate anything coherent or concrete. Like the worst of the “elevated horrors” of recent years that it stylistically emulates, it’s all atmosphere and no substance.