“I have to reinvent myself”, says the filmmaker Ismael Vuillard (Mathieu Amalric), begging his wife Sylvia (Charlotte Gainsbourg) not to leave him. It’s hard to disagree with, considering Arnaud Desplechin’s Ismael’s Ghosts is yet another autobiographical work tossing at us the same names, themes and hang-ups that characterize his work with hardly anything to speak for it. All through cinema history, middle-aged male filmmakers, generally in their fifties, seem to have had this compulsion to fictionalize themselves on screen, warts and all, regularly mistaking self-exhibition for personal art. Their urge to either exaggerate or downplay their perceived faults more often than not comes across as self-approved absolution, non-apologies by way of apology, and barely-veiled exercises in narcissism and self-therapy. Even the classics of this “genre” (The Quiet Man, 8½, All that Jazz, Deconstructing Harry) are clouded by an over-proximity to the subject. These mid-career works are, it must be noted, different from personal projects filmmakers begin their career with: while the latter spring from a necessity to express, the films in question are invariably symptoms of a creative exhaustion if not an existential crisis. Ismael’s Ghosts provides little justification as to why the personal story of a womanizing filmmaker getting into an artistic block should interest the viewer.
The film begins as a zappy espionage thriller about a diplomat-turned-traitor Ivan Dedalus (Louis Garrel). We don’t see Ivan, but a legend is built around him by the other diplomats at Quai d’Orsay. This sequence, it turns out, is a film by Ismael—a deliberately-dumb provincial fantasy of exciting life—based on his estranged brother, now posted in Egypt (and actually based on Desplechin’s own diplomat brother Fabrice). Ismael claims to be a widower, his wife Carlotta (Marion Cotillard) having disappeared twenty-one years ago. He has a tender filial relationship with Carlotta’s filmmaker father Henri Bloom (László Szabó), also prone to nightmares and panic attacks like him. In a flashback presented through her perspective, Ismael solicits Sylvia in a sticky but authentic manner whose presumptuousness is tempered by the formal language of courtship. In a humorously creepy scene, he insists on entering Sylvia’s apartment against her objections, only to inspect its mise en scène and get out in a jiffy. For Ismael, the apartment space is an index to Sylvia’s personality, a manifestation of the id that reveals everything one needs to know about a person. He should know: his own ancestral home in Roubaix, where he hides after fleeing a shoot, is a storehouse of supressed memories and unregulated drives.
Psychoanalysis and its language are, of course, permanent fixtures in Desplechin, whose previous two features were called Psychotherapy of a Plains Indian, Three Memories of My Youth. The repressed phantom of Ismael’s Ghosts is Carlotta, who walks back into Ismael’s life as though spat back by the sea. What ensues is an unwinding of Ismael’s personal and creative life, as Sylvia leaves in heartbreak and jealousy. After sleeping with Carlotta, a hurting Ismael abandons his ongoing film to go hole up in Roubaix (Desplechin’s own hometown), where he hallucinates and goes into a downward spiral like Scottie Ferguson. When his producer comes home to take him back to Paris to finish the film, he claims he’s grieving his brother who died years ago. The producer discovers that his brother, the real Ivan, is well alive and furious at Ismael’s attempt to use his life as movie fodder. Ismael, it would seem, “kills” people off in order to both suck up the sympathy of people willing to love him and feed his own creation. When the producer confronts him again, he narrates the rest of his film: an increasingly crazy tale of international espionage that finds Ivan mistaking a Jackson Pollock scholar for a Russian spy. In this frenzy, Ismael shoots his producer in the arm. Just because.
Ismael’s Ghosts is pieced together through the perspectives of several characters. The scenes become progressively shorter as the film proceeds, sometimes reduced to a couple of shots. This perspectival dispersal isn’t dissimilar to Pollock’s “all over” paintings which, the Russian scholar claims, are actually figurative and compress Pollock’s personal relations onto the canvas. But it’s Ismael’s perspective that the film privileges. “My job (as a filmmaker) is to disappear” he claims to an actress he sleeps with (and who portrays Ivan’s girlfriend in the film within the film, perversely enough). And the action movie Ismael is making, which we see vast stretches of, is Desplechin’s way of disappearing in a film that’s otherwise too full of him. In genre terms, Ismael’s Ghosts is a schizophrenic oscillation between comedy, horror, action, melodrama (containing a couple of scenes with genuine affect) and Bergmanesque art film. It’s a highly film-aware work, employing both silent cinema tropes (irises, superpositions and back-projection) and a baroque aesthetic of accentuated colour, flamboyant camera movements, a florid string score and disjunctive edits. The actors place themselves on the neurotic scale, their caffeinated body language and expressions registering as parapraxes. There’s a lot of dressing and undressing in the film, which I suppose is also symbolic in some way. All this hyperactivity and intertextuality, however, masks a void at the heart of the film, a lack of faith in itself. Desplechin’s cinema needs a reboot.
When, in The Discreet Charm of the Bourgeoisie, Buñuel and Carrière had their characters wake up from a nightmare only to find themselves in another, they were mocking the practice of bourgeois cinema to neatly pack middle-class fears into exciting but essentially harmless narrative excursions. The tendency allows the characters and the audience to get a taste of the life on the “other side” but also maintain distance by waking up/returning home when things get too hot. Freud demonstrated that dreams aren’t arbitrary images but rigorously-structured emanations of the subconscious. The Freudian invasion of cinema, however, has meant that anything put in a dreamlike narrative is expected to be meaningfully assimilated into the film’s structure. In François Ozon’s psychosexual drama The Double Lover, an apparent reworking of a Joyce Carol Oates novel, pretty much anything goes. The protagonist Chloé (Marine Vacth) may or may not be lying, may or may not be hallucinating, may or may not know the people around her. Either way, it is of little consequence. To her shrink, she says lines like “I want to remain weak” and “I exist when you see me like that”. The Double Lover would’ve functioned as a camp spoof of European art movies had it not been so serious about itself.
There is a story, though. Chloé, an ex-model, has pain in her stomach, but her doctor tells her there’s nothing physically wrong with her (first of the several false flags the film plants). She is sent to a psychiatrist, Paul (Jérémie Renier), who falls in love and moves in with her to a new apartment. Chloé discovers the existence of a lookalike of Paul called Louis, also a psychiatrist, from whom Paul is apparently estranged. Wanting to know everything about her dodgy but loving boyfriend, Chloé takes sessions with Louis, who turns out to be professionally and temperamentally the opposite of his brother. He humiliates Chloé, becomes increasingly punitive and finally rapes her, which Chloé, of course, likes—this domination cures her of her frigidity though not her pains. Paul proposes marriage, forcing Chloé to put an end to her trysts with Louis, who reveals a dark secret from the brothers’ past.
Chloé works at the Palais de Tokyo as a museum guard and the gallery’s white walls and empty exhibition spaces register as her psychological landscapes: the visceral photographs and tortured sculptures we see are, in fact, derived from images from The Double Lover. The film develops wholly from Chloé’s broken perspective, which justifies distortions of narrative information, but renders the reality of other characters irrelevant. The film, in fact, elides one crucial information in order to wrap up the plot. A creepy-seeming, horror-movie neighbour is thrown in for easy chills, and to provide a relief from the sight of the same two actors. Ozon uses a soundtrack full of false cues, always implying terror where none exists. His film recalls a host of predecessors: Hitchcock most of all, but also Cronenberg of Dead Ringers and A Dangerous Method, Polanski of Rosemary’s Baby and The Tenant, De Palma of Body Double and Passion, and even Aronofsky. In fact, The Double Lover in on such a familiar narrative and aesthetic beat that it seems machine-generated from these films: the same use of old American pop songs, the same circular-spiral camera and architectural descriptions, the same mirror motifs that are by now self-parodical arthouse shibboleths.
Ozon’s film equates psychoanalysis with fucking, both forms of the same action of penetrating a person. The idea is, of course, rather old and rests on the dual implication of the verb “to know”. The three characters take turns exercising phallic violence on each other, reflecting the changing power equation between them. Ozon’s camera constantly zooms in and out in an imitation of the sexual act. At one point, when Chloé orgasms, the camera penetrates her mouth and reaches her vocal cord. In one of the film’s first images, a shot of her vagina dissolves to a shot of her Marion Crane eye. Given it’s a film about parasitic twins, even a brash rape fantasy is furnished as character psychology. True to theme, Ozon uses several cloven compositions—split screens, but also CGI sequences of characters physically bifurcating. There’s a music-video like passage of twin boys wrestling with each other as Vacth and Renier stare directly at the camera. The glimpse of post-winter Paris and Ozon’s colour-coded mise en scène aren’t enough to relieve us from the airlessness of this by-the-numbers thriller.
The Seventh Art 