New Orleans French Film Fest 2020, Ranked & Reviewed

Of the two local film festivals operated by the New Orleans Film Society, New Orleans Film Fest is both the longest-running and the most substantial. The 30th Annual NOFF, for instance, screened hundreds of films all over downtown New Orleans last October, of which we were able to cover 10 features (and a few shorts). We’re only seeing an insignificant fraction of the films screening NOFF every year, making a festival-wide recap something of a Sisyphean task as amateur bloggers.

NOFS’s annual New Orleans French Film Fest is a different matter entirely. The entirety of French Film Fest is located at a single, beautiful venue: The Prytania, Louisiana’s oldest operating single-screen cinema. All films are at least partially French productions, all are shown in subtitled French language, and the large majority of them never see domestic big screen distribution outside of the festival. I see some of my favorite releases of the year at French Film Fest too; 2018’s Double Lover ranked near the top of my favorite films of the 2010s . There are also typically at least two screenings a year that I’d comfortably call all-time favorites after just one viewing, especially in retrospective screenings from auteurs like Agnès Varda & Jacques Demy. New Orleans French Film Fest is the smaller, more intimate festival on the NOFS calendar, but its manageability is more of a charm than a hindrance and I’m starting to look forward to it more every year.

We will be doing a more exhaustive recap of our experience at the festival on an upcoming episode of the podcast, featuring a more fleshed out review of 1945’s Children of Paradise. For now, here’s a ranking of the few films we’ve seen that screened at the 2020 New Orleans French Film Fest. Each title includes a blurb and a link to a corresponding review. Enjoy!

1. Mr. Klein (1976) – “It’s clear from the start where the story is headed, as the movie largely functions as a Twilight Zone-style morality tale, but the point is less in the surprise of the plot than it is in the ugly depths of Klein’s authoritarian, self-serving character. This is a damn angry film about the evils of Political Apathy, and a damn great one.”

2. Deerskin (2020) – “Damn funny from start to end. Not only is the idea of a jacket being so fashionably mesmerizing that it leads to a life of crime hilarious even in the abstract, but the overqualified Jean Dujardin’s straight-faced commitment to the bit sells each gag with full inane delight.”

3. Varda by Agnès (2019) – “It may not be as kinetic or as aggressively stylistic as her career’s greatest triumphs (a contrast that’s unignorable, given those films’ presence on the screen), but it’s still incredibly playful & thoughtful in its own construction, especially considering the limitations of its structure as an academic lecture.”

4. Children of Paradise (1945) – Given this one’s accolades as one of the greatest films of all time, I expected a shift into outright Movie Magic surrealism during its stage pieces that never came. Instead, it’s just a well constructed, stately four-way melodrama with a dark sense of humor and an exceptionally grand budget considering it was partially made under Nazi occupation. It’s really good, but I was prepared to be totally floored (which is my fault, not the movie’s). Looking forward to diving further into it on the podcast.

5. Sibyl (2020) – “Its only major fault is that you could name several movies that push its basic elements way further into way wilder directions; Double Lover & Persona both come to mind. Otherwise, it’s an admirably solid Movie For Adults, the kind of thoughtfully constructed erotic menace that used to be produced by Hollywood studios at regular intervals but now only seeps quietly through European film festivals.”

6. Matthias & Maxime (2020) – “Incredibly observant about macho bonding rituals & typical group dynamics among basic bros – especially when parsing out what’s considered Normal male-on-male touching vs. what’s considered Gay. It’s just a shame that same thoughtful consideration didn’t extend to knowing how to trim the movie down to its best, most efficient shape.”

7. House of Cardin (2020) – “Not at all interested in matching the avant-garde artistry of its subject in any formal way; it’s about as forward-thinking in its filmmaking style as an I Love the 60s special on VH1. However, the vibrant, playful art of Pierre Cardin more than speaks for itself, and stepping out of that portfolio’s way read to me like a great sign of respect.”

8. Celebration (2019) – “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 (if not only in its spooky score), it’s all atmosphere and no substance.”

-Brandon Ledet

Matthias & Maxime (2020)

The New Orleans French Film Festival’s screening of Xavier Dolan’s latest feature was announced to be its US premiere. It initially felt exciting to watch a fairly significant new release without any already-ingrained critical consensus informing the experience – a rare treat these days. Except, the movie did arrive with its own pre-checked baggage even coming fresh off that international flight, thanks to the general divisiveness of Dolan’s flashy, bratty oeuvre at large. Even going in as cold as possible, I felt the exact same about Matthias & Maxime as I have about the other stray few Dolan movies I’ve happened to catch over the years (some at the very same fest): it was wildly uneven & in need of a shrewd trim, but also too stylistically bratty & refreshingly Gay to dismiss. At only 30 years old, Xavier Dolan has already firmly established a recognizable, idiosyncratic groove with a decade’s worth of routinely distributed feature films behind it. I greatly respect that level of professional & creative ambition in that young of a filmmaker, even if my own routine experience with his work is finding it Impressive but glaringly Imperfect.

Matthias & Maxime’s premise is so #OnBrand with the rest of Dolan’s career to date that it practically feels as if he’d already wrote it six or seven screenplays ago and was banking on audiences forgetting that it isn’t new. Dolan costars with Gabriel D’Almeida Freitas as the titular Max & Matt, respectively: two lifelong best bros who kiss on camera at a party after losing a bet and must deal with the aftermath of being very much Into It. The fallout of this revelation—that the presumed-straight macho dirtbags’ close friendship has an unspoken erotic undercurrent—plays out in two rigidly segregated settings: in tedious snapshots of their troubled home lives and in frantic, vibrant party sequences where the film periodically comes alive. True to form, Dolan punctuates his best moments with excitingly unpredictable needle drops & finely observed body language, but he also allows the story to drag on at least 20 minutes past its natural point of conclusion. Whether you’re enthusiastically on the hook for what Dolan regularly delivers or find it eyerollingly inane, Matthias & Maxime is eager to serve it up in heaps. It’s purely, precisely his usual thing.

I don’t mean to sound negative on this film’s value as an isolated work. If nothing else, I think Matthias & Maxime is incredibly observant about macho bonding rituals & typical group dynamics among basic bros – especially when parsing out what’s considered Normal male-on-male touching vs. what’s considered Gay. It’s just a shame that same thoughtful consideration didn’t extend to knowing how to trim the movie down to its best, most efficient shape. Like the few other Dolan titles I’ve caught, it’s frustrating because it has so much potential to be Great yet stumbles just enough to settle on being Good. It was exciting to walk into the film without a clear critical narrative warning me to expect more of the same from the director instead of a rare 5-star knockout. In typical Dolan fashion, watching it teeter on that tightrope was a significant aspect of its appeal.

-Brandon Ledet