By Anna Merlan
By Lee Escobedo
By Alice Laussade
By Scott Reitz
By Claire Lawton
By Kiernan Maletsky
By Anna Merlan
Just moments after Zonca's arresting first scene, we start to see how stoic, and resourceful, this lost child has come to be. She has the survival instincts of a stray cat and, even dwarfed by her backpack, the same feline grace.
This time she has landed, it turns out, in Lille, an industrial city in the north of France. You won't find it on the tourist maps, but it is exactly the right locale for Zonca's bleak meditations. Lille sustained grave damage in both world wars, and the city Zonca and cinematographer Agnes Godard show us is gray and glum, a pile of postwar concrete that seems to have lost its soul. Isa, portrayed here by a saucer-eyed wonder named Elodie Bouchez, is in danger of suffering the same fate. Rootless and unfocused, she looks to be one lost job short of oblivion.
In Lille, Isa winds up in a mind-numbing dress factory, faced with a sewing machine she doesn't understand and an irritable supervisor. But there she makes a friend. Marie (Natacha Regnier) is as anxiety-ridden as Isa is tranquil, as hostile as Isa is practical. Marie, too, has lost her family and finds herself on the ragged edge. But her brittleness contrasts sharply with Isa's almost fatalistic optimism. Marie has lucked into a bargain, though: She's house-sitting an apartment whose owners, a mother and daughter, have both been badly injured in an auto accident and are lying unconscious in a hospital. Ever the opportunist, Isa quickly becomes Marie's roommate.
Thus does Zonca, who at age 41 makes his feature film debut with Angels, set the stage for a resolutely unsentimental study of two young women trying to deal with poverty and anomie. In the cold streets of Lille, Isa and Marie playfully accost businessmen. Eventually, they take up with a pair of nightclub bouncers (Jo Prestia and Patrick Mercado) who turn out to be pretty decent guys. Isa and Marie audition, none too enthusiastically, for jobs as waitresses gotten up as celebrities. The irony is stinging: In real life, they are invisible, anonymous figures in a cold landscape.
Eventually, the paths of these two distressed souls must diverge. While embittered Marie grasps at the illusion that she will find happiness with a feckless rich boy (Gregoire Colin) who owns a local nightclub and has taken sexual advantage of her, Isa becomes ever more concerned with the girl whose place she took at the apartment--the girl in the coma. First she finds the stricken Sandrine's diary, full of adolescent yearning and uncertainty, and is moved by its tender secrets. Isa even composes new entries of her own, as if to keep Sandrine's spirit alive.
That's not enough, of course. Isa begins visiting the unconscious Sandrine, and her sympathy for the bandaged stranger evolves into uneasy recognition.
Compared with most American movies about teen angst or post-adolescent confusion, The Dreamlife of Angels is curiously quiet and relentlessly contemplative. There are raucous party scenes but not a lot of empty chatter. Heart-wrenching emotion abounds. The two young actresses are so natural that you sometimes feel as though a TV camera has suddenly invaded real life, and Angels' third major character--the city of Lille itself--plays its role perfectly: It's a graveyard for dreams.
The Dreamlife of Angels.
Directed by Erick Zonca. Written by Zonca and Roger Bohbot. Starring Elodie Bouchez, Natacha Regnier, and Gregoire Colin. Opens Friday.
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