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Title: Something in the Air (2012)
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| Cast overview, first billed only: | |||
| Clément Métayer | ... |
Gilles
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| Lola Créton | ... |
Christine
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Felix Armand | ... |
Alain
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Carole Combes | ... |
Laure
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India Menuez | ... |
Leslie
(as India Salvor Menuez)
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Hugo Conzelmann | ... |
Jean-Pierre
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Martin Loizillon | ... |
Rackam le Rouge
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André Marcon | ... |
Le père de Gilles
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| Johnny Flynn |
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| Dolores Chaplin | ... |
Actrice Londres
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Laurent Ramacciotti | ... |
Vigile /
Coach
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Mathias Renou | ... |
Vincent
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Léa Rougeron | ... |
Maria
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Philippe Paimblanc | ... |
Proviseur
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Alain Gluckstein | ... |
Professeur de français
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In the months after the heady weeks of May '68, a group of young Europeans search for a way to continue the revolution believed to be just beginning.
"Something In the Air", the latest film from French auteur Olivier Assayas feels like his most personal since "Cold Water" in 1994. Both films feature a young man named Gilles (this time played by Clement Metayer) acting as the surrogate for Assayas himself, tantalizingly poised on the precipice of awkward adulthood. But where "Cold Water" dealt with interior feelings of belonging and amour fou (in the relationship with beautiful but dangerous Virginie Ledoyen), the stakes are a bit higher in "Something In the Air". Set in Paris after the May events of '68, this Gilles and his close sect of friends find themselves mixed up in violent student activism… so violent that they accidentally hurt a security guard during a routine vandalism attempt and are forced to split up in hiding. And while the first third or so of "Something In the Air" deals with these subversive acts of revolution, the real thrust of Assayas' narrative kicks in after this action, setting up Gilles, Christine (the wonderful Lole Creton), Alaine (Felix Armand) and their various lovers to seek out their own paths in life. The title, while initially evoking the revolutionary scents in the air, subtly changes to denote the forks in the road each individual takes with their lives. Assayas handles all this reverie beautifully, never losing his gentle touch on relationships and staying to true to the way he continually crafts a knockout finale. It may not all be 100% accurate, but the way in which Gilles the man on screen become Assayas the filmmaker is still precise, loving and attuned to the nuances of everyday emotions.