Though not all her films are equal, Charlotte Rampling can always be relied upon for a solid performance of controlled poise and nuance. That seems especially important here in the portrait of a woman struggling to come to terms with the disappearance of her husband, not least as there's no great dramatic push and the storytelling is kept subdued with minimal, subtle progression for the character. Rampling largely carries the picture all by herself, though this is hardly to count out her co-stars, Francois Ozon's direction, or the screenplay he conjured with Emmanuèle Bernheim. I think it's safe to say, however, that Rampling marks the chief strength of 'Sous le sable,' which speaks very well to her skills as an actor, while also reflecting on the writing that fashioned a feature so prominently centering her.
Pointedly understated and thusly focused, this comes across in some measure as a psychological drama. Such a tack requires a delicate hand to succeed, and to Ozon's credit I think it largely does. There's no singular stroke of brilliance, and at no time does the movie strike a major chord - but then, nor is it intended to, for this is a title of the much more soft and ruminative side of cinema. Ozon, Bernheim, and Rampling give us a sidelong exploration of grief, and uncertainty teetering between acceptance and denial nearly to the point of madness. That 'Sous le sable' never tips over and lends itself to emphatic profundity is a deliberate choice, and one that may come off as admirable or regrettable depending on one's perspective; in my mind, it works well for what was being crafted in this instance.
This is well made in all other regards, including costume design, hair, and makeup. I appreciate Antoine Héberlé and Jeanne Lapoirie's mindful cinematography; Philippe Rombi's original music lends to the gentle but notably pensive atmosphere across these ninety-five minutes. Given the low-key tone this won't appeal to all comers, and it's certainly suggested above all for fans of Rampling. Yet anyone who is receptive to the quietly dramatic side of the medium will find this capably engrossing and satisfying, and surely rewarding. I don't think it entirely matches my expectations only insofar as there could have been a more definite progression written for Marie, but that's just my opinion, and even at that I had enjoyed watching. 'Sous le sable' isn't necessarily something one needs to go out of their way to see, but if you do have the chance to watch, it's worth checking out.
Pointedly understated and thusly focused, this comes across in some measure as a psychological drama. Such a tack requires a delicate hand to succeed, and to Ozon's credit I think it largely does. There's no singular stroke of brilliance, and at no time does the movie strike a major chord - but then, nor is it intended to, for this is a title of the much more soft and ruminative side of cinema. Ozon, Bernheim, and Rampling give us a sidelong exploration of grief, and uncertainty teetering between acceptance and denial nearly to the point of madness. That 'Sous le sable' never tips over and lends itself to emphatic profundity is a deliberate choice, and one that may come off as admirable or regrettable depending on one's perspective; in my mind, it works well for what was being crafted in this instance.
This is well made in all other regards, including costume design, hair, and makeup. I appreciate Antoine Héberlé and Jeanne Lapoirie's mindful cinematography; Philippe Rombi's original music lends to the gentle but notably pensive atmosphere across these ninety-five minutes. Given the low-key tone this won't appeal to all comers, and it's certainly suggested above all for fans of Rampling. Yet anyone who is receptive to the quietly dramatic side of the medium will find this capably engrossing and satisfying, and surely rewarding. I don't think it entirely matches my expectations only insofar as there could have been a more definite progression written for Marie, but that's just my opinion, and even at that I had enjoyed watching. 'Sous le sable' isn't necessarily something one needs to go out of their way to see, but if you do have the chance to watch, it's worth checking out.