The Artist and the Model

Reviews

• 

  CinemaSerf

  Aug 10, 2024

  7
  Jean Rochefort and Aida Foch present quite an unique sort of love story here as he ("Cros") invites her ("Mercè") to sit for him as a muse for his sculpture. They met because his wife "Léa" (Claudia Cardinale) encountered the girl fleeing from the Nazis in the occupied part of France. She is aspiring to make it back home to Spain, bit is weak and penniless. As she poses for the elderly man, they enquire much of each other and begin to develop a bond that is entirely complementary to his marriage, but provides him with a long lost, invigorated, inspiration to create something beautiful from his block of marble. It's a slow burn, this, but somehow it manages to create a perfect framework for an evaluation of age, certainly, but also of beauty too. A beauty that is reflected on a more viscera level by the fact that Foch is naked for a great part of the film - even when not posing; but also of the beauty of the art and the craft of working the stone - something that the lighting team must take considerable credit for illustrating in an almost halo-like fashion. The dialogue is sparing but lively when it's there, and Cardinale delivers very well as the foil to the increasingly intense friendship between the two ostensibly polar opposites. The denouement wasn't quite what I was expecting, but it worked fittingly as this attractively photographed story of affection came to a close that offered a form of redemption for all.Read more

  Jean Rochefort and Aida Foch present quite an unique sort of love story here as he ("Cros") invites her ("Mercè") to sit for him as a muse for his sculpture. They met because his wife "Léa" (Claudia Cardinale) encountered the girl fleeing from the Nazis in the occupied part of France. She is aspiring to make it back home to Spain, bit is weak and penniless. As she poses for the elderly man, they enquire much of each other and begin to develop a bond that is entirely complementary to his marriage, but provides him with a long lost, invigorated, inspiration to create something beautiful from his block of marble. It's a slow burn, this, but somehow it manages to create a perfect framework for an evaluation of age, certainly, but also of beauty too. A beauty that is reflected on a more viscera level by the fact that Foch is naked for a great part of the film - even when not posing; but also of the beauty of the art and the craft of working the stone - something that the lighting team must take considerable credit for illustrating in an almost halo-like fashion. The dialogue is sparing but lively when it's there, and Cardinale delivers very well as the foil to the increasingly intense friendship between the two ostensibly polar opposites. The denouement wasn't quite what I was expecting, but it worked fittingly as this attractively photographed story of affection came to a close that offered a form of redemption for all.