In 2016, the filmmaker Mia Hansen-Løve sketched the modest portrait of a fifties manhandled by life (formidable Isabelle Huppert). And added an unexpected sweetness to melancholy. “L’Avenir” is available on Netflix.

Our review of “L’Avenir”

“Music is meant to be seen, not just heard. “ This paradoxical thought, which could be applied to the so melodious cinema, with or without music, of Mia Hansen-Løve, it is Heinz (André Marcon) who expresses it to Nathalie (Isabelle Huppert), his wife. Here is a couple of intellectuals, real ones, both professors of philosophy, both loving their profession, which they exercise in Paris. This love, the director makes immediately tangible, through the sensitive attachment to books (everything except accessories, here), the ideas that the couple exchanges at the table with their children, the course that Nathalie gives in her high school class. . Everything rings true, everything is fluid in this cultural picture which could be idyllic if it were not troubled by a first concern: the manic-depressive mother of Nathalie (Edith Scob, whimsical at will), only a moment, annoyed, she does not hesitate to qualify as ” crazy woman “. An anguished mother, intrusive, complex and funny too, who often prevents her from living. To this torment is added a bad news, sudden, totally unforeseen …


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