In an American film,
picking up a stranger hitchhiking in Paris during a transit strike would
lead to rape, murder, or perhaps endless hours of superficial talk. Friday
Night, the latest film by Claire Denis (Beau Travail, Trouble
Every Day), shows it simply as a one night stand without moralizing
or psychological evaluation. Based on a novella by Emmanuelle Bernheim
and supported by an original score by Dickon Hinchcliffe and exquisite
cinematography by Agnes Godard, the film is rich in poetic and surrealistic
touches. Though there is very little conversation, communication is intimately
conveyed by a warm smile, a gentle touch, a knowing glance. We know nothing
about either of the characters, where they come from, what they think,
what they feel, yet they provide a stand in for our fantasy about that
one romantic night with a perfect stranger.
Laure (Valerie Lemercier)
has packed up her belongings and is ready to move in with her boyfriend.
On a Friday night, on the way to dinner with a friend, she gets stuck in
a nightmarish traffic jam caused by a transit strike in which the cars
barely move. She listens to the radio commentator urging people to give
others a lift. She dries her hair on the car heater, listens to music,
watches the other car drivers, and rummages through her books whole waiting
for the cars to move. She offers a ride to a handsome stranger (Gregoire
Collin) but he says he would rather walk. When she gives a ride to a paunchy
middle aged man named Jean (Vincent Lindon), her door is open literally
and figuratively. When Laure gets out of the car to make a phone call,
Jean assumes the wheel and zips through side streets until she tells him
she wants to stop. They bicker, separate, but find each other again and
discover their growing attraction.
Without considering the
effect it will have on her relationship with her boyfriend Francois, Laure
agrees to rent a room with Jean for the night at an empty hotel managed
by an inquisitive attendant. Before and after eating dinner at a local
pizza restaurant, they make love in their room while the hand-held camera
caresses isolated body parts in jumpy rhythms. There is gentleness and
romance but the look on their faces does not reveal any exuberance. Friday
Night has a playful feel but is ultimately too self-conscious to be
fully convincing, lacking the element of passion or danger. It is Denis'
minimalist Ode to Joy but the running, smiling figure of Laure at the end
failed to convince me that the joy was genuine.