I ended my VIFF with the French film Jumbo. It was part of the Altered States slate. I agree the film was something else!
The film begins in an amusement park in a French city. Jeanne Tantois is the park custodian. Her job over there is just her labor. She has a fascination with many of the rides there, but she doesn’t get along well with too many of the men that she works with. She’s a young girl who lives with her parents. Her mother Margarette wonders when she will find the right boy. At home, she creates things like celestial ceiling images or mobiles consisting of a lot of LED lights. There in her room, she lets her imagination run free. She even has a belief that objects have souls, even moving motorized objects.
One day, a new ride comes to the amusement park. It’s a 25-foot tall ride set to accommodate 32 at a time. Jeanne cleans the light bulbs, but soon notices the ride, named ‘Jumbo,’ is communicating with her. She’s surprised by it all. Jumbo offers her a ride. She accepts with her riding alone, and she appears to enjoy it in an erotic sense. Over time, she has gotten to have a closer liking to Jumbo. Jumbo communicates with her: green lights for yes, red for no. Soon her liking for Jumbo isn’t just simple. It’s intimate.
Not everybody is accepting upon hearing Jeanne’s love for this carnival ride. The other teens from her school including a group of boys poke fun at her. Her boss and the head custodian look at her with huge suspicion or something’s wrong with her. Margarette meets Jumbo, rides him, and is shocked that she could be attracted to an object. However it takes a lot of convincing to her mother that her attraction to Jumbo is real and is her everything.
The relationship between her and Jumbo grows. One night she lays down on Jumbo and his oils enter into her almost as if a sexual pleasure. Then the workers at the amusement park are given awards for the best services. Jeanne is given an award for her services with the bullying boys watching from the back. Then the shocking news. Jumbo will no longer be at the amusement park. Jeanne is devastated. Even more so when she learns Jumbo will be transported to an amusement park in Belgium. Her boss makes it clear it’s her attraction to Jumbo that caused their decision. That leaves Jeanne no other choice. She must marry Jumbo before he’s taken away. Margarette and her stepfather are willing to assist her in the marriage. The two perform the rites as both Jumbo and Jeanne accept. All three go for one last ride and get off in time before the bullying boys from her school can get them.
Now there have been films about people having feelings of love to objects in the past. However this is something unique as it’s of a young female with an attraction to a carnival ride. This could have come across as a dumb story. However there is such a thing as objectophilia. Writer Zoe Wittock learned of a story of a Florida woman who was in so love with a carnival ride, she tried to marry it. Even then, to make it believable, it required that from a believable character. Jeanne is that character. She herself is a dreamer who likes to draw and is fascinated by lights and stars. She even mentions at the beginning of her belief that objects have souls of their own. It was necessary for her to say something like that for her objectophilia to be believable.
Even with the imagination, the film had to make Jumbo come alive as well. If Jeanne sees the soul inside Jumbo, we the audience have to see it too. It works as we see Jumbo come to life whenever Jeanne is around and when Jeanne conveys her emotions and feelings. Plus right at the end, Jeanne’s mother and stepfather have to see Jumbo’s soul for themselves in order for Jeanne to marry it. As bizarrely erotic this story is, it needs to have the scenes to make us believe it and the characters to make it work. And it does.
Top credit goes to writer/director Zoe Wittock. Before Jumbo, she wrote and directed four short films. Jumbo is her first feature-length film. It’s also marks her return to film work after a five-year hiatus. A woman sexually attracted to a carnival ride looks like the premise for a bad movie or something completely freakish. Zoe, however, is able to make it work with the story and making the story of Jeanne’s love believable and also giving character to the ride. Additional credit should go to Noemie Merlant. It’s also the believability of Noemie’s performance that keeps Jumbo from being dismissed as a stupid movie. She made the objectophilia believable and not look as freaky as one would anticipate. It’s very surprising to see her play a completely different character than Marianne from Portrait Of A Lady On Fire as well as a different time period. There’s also excellent acting from Emmanuelle Bercot as the mother who has to struggle to accept her daughter’s objectophilia and in the end be encouraging to Jeanne in marrying Jumbo.
Jumbo appears like a film that would not win too many awards on the film festival circuit, but it has won one and has received nominations. It won Best Feature Film at the Chattanooga Film Festival, nominated for a New Direction award at the Cleveland Film Festival, nominated for a Best First Feature Award at the Philadelphia Film Festival, a New Visions Award nominee at the Sitges – Catalonian Film Festival and Best International Film at the Jeongju Film Festival.
Jumbo has what would first be dismissed as a ridiculous story. What made it work was the actors making the story and the bizarreness believable as we watch.
And there you have it! That’s the last of my film reviews of this year’s VIFF! my wrap-up of this year’s Festival is coming soon!
With all this free time thanks to the COVID pandemic, it gave me a good chance to catch up on a lot of things undone. One of which was write reviews for films I didn’t review soon enough the first time. One such film is Portrait Of A Lady On Fire. I saw it in its entirety shortly after the Oscars. It’s a film that’s intriguing to watch.
The film begins with a painting class for young women. The teacher is Marianne, an acclaimed painter. The students are to paint a portrait of her. One of her students notices one of her paintings: that of a woman with her dress on fire. She asks Marianne what it’s titled. She responds “Portrait of a lady on fire.”
The film flashes to years earlier, when a man in a rowboat rows Marianne to a remote island in Brittany. She is commissioned to paint a portrait of a noblewoman named Heloise who is to be married off to Milanese nobleman. Her mother, the Countess, will allow her to stay in the building and be served by the maid Sophie. Painting Heloise will be a tricky thing. She does not want to pose for paintings as she does not want to be married off. She attended a convent, but her sister’s suicide prompted her return and her engagement.
Marianne decides it is possible. She just has to act as her companion and remember her features in order to paint her in secret. However Marianne notices the hurt inside Heloise as Heloise tries to jump off a cliff to her death. Marianne successfully stops her. Over time, Heloise learns of Marianne’s artistic passions including playing on the harpsichord. Marianne plays her the Presto of summer for Vivaldi’s Four Seasons. Heloise is captivated with it.
Marianne finishes the portrait, but feels she has to let Heloise know the truth of why she’s here. Heloise is critical of the painting and Marianne destroys it promptly. To the surprise of her mother, who is about to leave for Italy for some time, Heloise is willing to have Marianne do a portrait of her.
Over time as Marianne paints the portrait of Heloise, their bond grows. Especially over the reading of Orpheus and Eurydice. The maid Sophie reveals she’s pregnant and doesn’t want the baby. The two help her have an abortion through violent exercise. Sophie is included in the friendship with the two. The three go to a bonfire surrounded by women as they sing. It’s there Marianne sees Heloise with her dress on fire. Overnight, Marianne is haunted by images of Heloise in a wedding dress.
It’s when the two are alone together in a cave that Marianne confesses her love to Heloise. The two share their first kiss. The romance grows as Marianne continues with the portrait of Heloise. Marianne does other artwork too like sketching the performing of the abortion on Sophie and even sketching a naked picture of herself on page 28 in one of Heloise’s books, by her request. However the fun is cut short as Heloise’s mother returns. The portrait is completed and both Heloise and the Countess are happy with what they see.
SPOILER WARNING: Ending Revealed In This Paragraph. Marianne is about to leave with her work being completed, but then sees Heloise one last time: in a wedding dress just like in her dream. Marianne says she did see her twice since. The first time in a painting of her with her child and a book open to page 28. The second time was from a distance at a symphony concert. She could see from a distance she was overcome with emotion when the Summer suite of Vivaldi’s Four Seasons was played.
There’s no question the film is LGBT themed. The film is a fictional story. Nevertheless it does tell a lot in what it shows. It’s a chance meeting between a painter and her reluctant hurting subject. It’s after the mother leaves that the place goes from a place under control to the place the three women can live out the lives they were meant to live. It’s there Heloise can reveal she’s a lesbian like Marianne and she loves her. It’s there when a pregnant Sophie can have her baby aborted at her will. It’s also a place where the common women all gather together at a bonfire and sing. It almost feels like a ‘womyn’s’ film. However it tells more. The women know that once the mother returns, everything will be back to the way it was. Marianne knows her love that was meant to be can’t be. And so does Heloise. We shouldn’t forget that even though this is a fictional story, this was a time when same-sex love was criminalized and abortion was illegal.
Another element of the film is how the story tells itself through art. It may be about a painter who’s hired to paint her subject, but it’s like art of all kind is important for the storytelling. It’s also music that stirs emotion. It’s the discussion about Orpheus and Eurydice between the two. It’s the various drawings Marianne did. It’s of the painting of Heloise that would reveal who her true love was. The mix of various forms of art and feeling, both of passion and of hurt, come into telling the story of this film. Even the bonfire song where the women celebrate, but Heloise makes obvious is still hurting inside, plays an important role. The scene where Heloise’s dress is burning, but she acts like she’s unaffected will remind you why it’s not the dress on fire but the lady on fire.
This film was out during the VIFF. I only saw the last half of it because I was busy during ushering during the first half. That’s why I don’t include it as part of my VIFF reviews. It was only in February just after the Oscars that I finally saw it in its entirety. I’m glad there was a second chance to see it. It’s too bad it was completely snubbed out of the Oscars. For those wondering what France’s entry for the Oscar of Best Foreign Language Film was, it was Les Miserables and it was nominated. This film however was a nominee for the Palme d’Or at the Cannes Film Festival and won the Best Screenplay Award.
Top acclaim should be given to director/writer Celine Sciamma. A lesbian herself, she did a very good job not just bringing her story to life but also creating an array of imagery and adding an atmosphere to it. It’s quite an experience to watch. The acting from the two main actresses, Noemie Merlant and Adele Haenel were excellent too. You could tell as much from their moments of silence as you can from their moments of dialogue. It will also leave you undecided which of the two is the lead actress, or if they’re both the lead actresses. Luama Bajrami is also a good addition to the film. She slowly makes her presence in. The biggest quality of the film is the cinematography from Claire Mathon. Her cinematography added the color and the feel to the film and has a lot to do with its excellence.
Portrait Of A Lady On Fire is a one-of-a-kind film that showcases great cinematography and allows for the images to contribute a lot to the storytelling. It’s a fictional story that’s very picturesque and worth admiring.