In the last decade or so, Angelina Jolie has been on screen less frequently. So when she is — and not in forgettable tentpoles like “Eternals” — it’s worth paying attention. There seems to be a thoughtful intentionality to the roles she now chooses, almost as if this astoundingly famous woman wants to tell us something vital about herself, offering clues into her understandably guarded personal life.
Take 2015’s “By the Sea,” which she wrote and directed. Coincidentally or not, that pained study of marital dissolution, co-starring Jolie’s then-husband Brad Pitt, intersected with the couple’s real-life breakup — not to mention Jolie’s grief over the death of her mother, Marcheline Bertrand. Two years ago, Jolie portrayed a version of the elusive, emotionally closed-off opera singer Maria Callas in “Maria.” The conception of the role, marked by a dim view of stardom’s suffocating alienation, was something Jolie clearly understood. Moviegoers should be careful not to read too much autobiography into an actor’s creative choices, but Jolie makes such speculation tantalizing, adding additional layers of drama to her films.
The intermittently affecting “Couture” feels similarly close to her heart, depicting a filmmaker whose life is interrupted by a cancer diagnosis — a reality Jolie knows all too well. In 2013, she underwent a preventive double mastectomy over concerns of her likelihood to develop breast or ovarian cancer. (Bertrand died of cancer in 2007.) Knowledge of Jolie’s circumstance will inform a viewer’s reaction to her wounded, resilient performance, but our inherent sympathies can only take French writer-director Alice Winocour’s ensemble piece so far.
Jolie plays Maxine, an American indie director hired to create a flashy opening film for Paris Fashion Week. Newly arrived in the City of Light, she has only a few days to put together the short, assisted by her trusted cinematographer Anton (Louis Garrel). As we deduce from the phone calls Maxine makes back home, she’s also going through an acrimonious divorce and has trouble connecting with her blasé teenage daughter. At least this Paris paycheck gig will bolster her finances — and get her ready for the feature film she’s been wanting to make for years.
Just then, though, Maxine’s future gets a rewrite. A French doctor (Vincent London) tells her she has breast cancer and needs a double mastectomy immediately. Maybe she can finish the Fashion Week film, but her passion project must wait. An artist and mother who has spent her adulthood in constant motion will have to learn what it means to stop everything and be still.
The film’s title would appear to be a reference to the story’s setting, but in French, “coutures” can also mean “stitches,” and indeed Winocour sews together three thematically linked story strands. As Maxine wrestles with her cancer diagnosis, an inexperienced South Sudanese model named Ada (Anyier Anei) works Fashion Week so she can send money home to her family. (Ada has no interest in modeling, hoping instead to become a pharmacist.) Meanwhile a makeup artist, Angèle (Ella Rumpf), longs to be an author, although she cannot get anyone interested in her writing. Each one becomes a part of the fabric of Fashion Week, but their disparate problems are a far cry from the glitzy event’s self-importance.
Winocour has often made films about women balancing their public-facing life with their private selves In 2019’s “Proxima,” Eva Green played an astronaut missing her young daughter. In 2022’s “Paris Memories,” Virginie Efira starred as an interpreter recovering from the shock of surviving a terrorist attack. Winocour shows us the intimate, vulnerable spaces within her characters that those on the outside don’t have access to.
“Couture’s” three principals rarely interact with one another, but those meaningful exchanges argue that, amid the mad clatter of the everyday, a brief, unguarded moment with a stranger can be supremely restorative. Unfortunately, the juggling of storylines ends up being more schematic than insightful. Angèle’s narrative never catches fire and while Anei is striking as Ada, that section of the film feels slightly patronizing, reducing this immigrant tale to yet another strained salute to perseverance.
This leaves Jolie as the movie’s magnetic center, with Maxine drifting through despair as she ponders what to do. Her doctor insists that the surgery cannot wait, but putting her ambitions on hold means losing a part of herself — a different kind of death sentence than the one she’s now facing.
The character is underwritten but Jolie picks up much of the slack through her silently shattered expression. As she’s gotten older, the Oscar winner has become more comfortable doing less in her performances, allowing for a fragile serenity that is belied by the anguish and anxiety roiling underneath. It’s not just our recognition of the real-life parallels that make Jolie so touching in “Couture” — it’s that ineffable star power she’s possessed for so long. In a story about a potential tragedy, what’s saddest is that Winocour’s film cannot match its lead’s effortless command.
The post A mesmerizingly vulnerable Angelina Jolie fails to fully redeem ‘Couture’ appeared first on Los Angeles Times.
