Jonas Trueba once again calls on his two favorite actors, Itsaso Arana and Vito Sanz, for his new feature, Septembre sans attendre, presented at the Quinzaine des Cinéastes. They play Alex and Ale respectively. He's an actor, she's a director, they've been together for almost 15 years but are about to separate.
The film revolves around theannouncement of this separation to everyone (family and friends, and more incongruously, the neighbor and even the plumber who comes to unclog the sink) and the preparation of a big break-up party at the end of the summer, " like a wedding but in reverse", following the advice of Ale's father. The news leaves everyone around them stunned.
Playing on the repetition of clichés that turn into running gags (" We're fine with it, we made the decision together, it's by mutual agreement ", they repeat at length during proselytizing aperitifs, using terms to their heart's content), the film follows the preparations for this separation and this party... which, in the end, we hardly see at all, except during the closing credits. Because Septembre sans attendre is, in fact, a genuine remarriage comedy, and makes no secret of the fact.
Jonas Trueba's film also offers a reflection on cinema in terms of both form and content, through expressive st aging - sequence shots, split screen - and lively debates - on the morality of The Party , but also on perfectionism in the seventh art according to Stanley Cavell, with the characters invoking his invaluable work In Search of Happiness - to the point of leading to an imbroglio between the film we're watching and the one Ale is editing in his editing room.
Suggesting that the couple is also cinema, Jonas Trueba delivers here a strange and rather complex object, a kind of film within a film. Ale edits the film of his life (this is a major work in his career) and of his life (literally), using the same film material that we, the viewers of Septembre sans Attendre, have just seen on screen. A radiant film.
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