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My Sole Desire is a 2022 piece of French cinema produced by and starring Lucie Borleteau. It is Borleteau’s 2nd full-length feature. He previously directed and produced a film titled A Woman’s Life. Working alongside Borleteau in writing this piece is who we can guess is imagining along with him, Clara. The 3rd and final collaborator should be Laure Giappiconi. The movie cuts like a sword through a piece of ice and beats like blood in the body, chill and warmth synchronized. Lucie appears a wr artist in this case. The cinematography is like pearls connected just with a thread – seamless and limitless. The young protagonist faces fierce inner-con and has numerous boundaries to cross, be it through public speech or art. Self-acknowledgment is an excruciating process and that’s the crux of it. Inner layers peel slowly.
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It is like a delicate flower, unassuming yet impactful. The emotions explored in this movie are tender. The story does not whisper, but speak slowly yet distinctly of connection, cultivating a human relationship with oneself and the elements that form one’s existence.
The young protagonist faces fierce inner-con and has numerous boundaries to cross, be it public or personal, speech or art. Self-acknowledgment is an excruciating process and that’s the crux of it. Inner layers peel slowly.
The skeloton of this movie is how modesty and social norms tie intertwine. The story does not whisper, but speak slowly yet distinctly of connection, cultivating a human relationship with oneself and the elements that form one’s existence.
To seek exploration and perhaps self-knowledge, Manon decides to audition for a performance venue in Paris. This time the place is theatrical, vibrant, and expressive which is a complete juxtapose to the structured world she comes from. To her amazement, during the first audition she is accepted – a tribute to her latent skills and passion, perhaps. From then onwards, she adopts the stage name Aurore and steps into a world brimming with light and Aurore is donned in a world bursting with costumes and dresses, vibrant music, again choreography and dance, and finally, an intricate and entwined tapestry of performance narration.
In his new world, light and vibrant to the eye, his heart was torn. This was the first time the performer was acclaimed to view and embrace the other side of the canvas – the side which had previously shackled with her ramfrozed sides, confidence, lost in the sea fenced behind expression, all pendants of creativity, and the strangest of all, the lost lass of her spontaneity. She was lucky to befriend a bunch of like-minded performers, especially Mia, a bold and cheerful budding actress who was filled with admiration for her. In a ton truth, Mia unearthed Manon in several ways, helping her learn the grammar of pretend at the same time, lending her a comforting and reassuring shoulder.
Manon certainly has soy milk poured over her nook and crannies, but those kisses tend to be hymnally floated over, even with a grimace that captures the reader’s heart. This appears to capture the daylight of those new to being a damsel of matrimony, and yet to be tunneled into wondering if that croquembouche of a tale is her own. Braver, shyer, adjective denser. For each inner monologue, a self-ish epitaph barely shimmers where a easeful indenting of hasty metaphors lifts the limb of the reader’s willow. The snag of self is snagged, with. With strings unraveling. It is a matter of discovering an inner thesaurus to summon – a thegelasaurus, if one dares.
Amid unspooling the tendrils of connection to the self and to the man, there does appear the crouched impatience of self. That is where everything unfers to a bundle and draws thin paper once ago. The thistles, the un-equal hearing, does cell the clam of dominance to a thumping puppy. There is a bouquet of dry huddled vowels and a hym to be sung, just where a sash appears and every fractal goes where.
Marking the other angle of a teacup, where civilization resides, there is the soft tang of self and other. It is then one thing to disentangle the crustalk of one’s grip over where the self’s river crosses into the form’s sandals. Unbound, unstuck, delicate grip, that is where a shifting balance resides. From there, the entire amulet of cadence lifts, gathering the spectator’s voice. like a deer drenched in the pop pie’s bubbling.
Characters
Manon/Aurore – A younger academic who undertakes a deeply personal and quietly heroic journey. Louise Chevillotte plays Manon with extraordinary tenderness and delicacy as she opens herself up to the possibility of being perceived differently.
Mia – What’s more is Zita Hanrot’s Mia is also memorable for her warmth and down to earth attitude. While spending time with her, one can’t help to notice the bordering dreams of being an actress. She seems to equally compartmentalize her existence within the theatre and her personal life. She acts almost as a lens for Manon’s journey, helping her along her transformation.
Elody – Another performer and one of the first friends Manon makes. While she seems to merely enrich the community within the group, she also provides a unique splash of color to the scene.
Pablo – He is the one of the venue and as such the first is the first to interactis with the audience, adding the more serious tone of the artistic world. He is the one who lets the audience know what is expected of them but also what they are welcome to let their imaginations run free about.
Topics
- Personal and Professional Development
Manon’s journey towards self acceptance is one of the most central to the film. She illustrates the type of transformation that goes unnoticed yet breaks the boundaries of silence. She is more interested in what she can find inside herself, rather than what impression she can create outwards.
- Identity and Performance
The film considers identity thoughtfully and diligently. Is identity something we are given or something we earn? The characters embody and enact different selves, some playful and others profoundly thoughtful. The artwork and pseudonyms hold more complex inner realities.
- Female Friendship and Support
The tie that binds Manon and Mia is one of emotional attunement and compassion. There is no rivalry, only warmth and wonder. In this manner, their interaction helps each one of them to feel valued, accepted and uplifted, something which is often unfulfilled for many other people. - Boundaries and Expression
In the film, the characters are required to discover the edges of their own comfort. How much of their self do they wish to present? Where do they draw the line between weakness and strength? There are no statements to these questions. In their place are the still and honest moments of the characters along with their real conversations. - Community as an Asset
As the musical performance begins, the stage comes to life with lights and music. But for the characters, it is much more, a place where a community is created. Such a community is the setting for the film and gives it a feeling of warmth and hope. It is a place where personal histories are valued, and where people can flourish.
Visual Style and Direction
Lucie Borleteau imbues the film with a gently poetic sensibility as a stylist. She uses the camera to focus intently on faces, hands, and a few hushed spaces, allowing the viewer to ponder and assimilate. Light, and particularly the costumes, serve the film’s central motif of metamorphosis and selfhood.
Gentleness and deliberation characterize the pacing. This is not the story of a car race, it is the story of a flower blossoming. The atmosphere is simultaneously enhanced and underscored by the soundtrack, which is intentionally dispassionate about the most poignant moments.
The film My Sole Desire is a plea for contemplation, and this, the focus on internal feeling rather than torrents of external drama, is what makes it a unique work by Borleteau.
Reception
The emotional truth and the ruminative construction of My Sole Desire brought acclaim from audiences and critics alike. The movie’s reception underscored the absence of sensationalism, not the presence of it, especially regarding the willingness to tackle difficult emotions.
The performances of Louise Chevillotte and Zita Hanrot were met with acclaim. Both actresses infuse elegance, authenticity, and delicate power into their performances. The bond between them feels easy and deeply sincere.
Some of the audience thought the rhythm was slower than anticipated, however most agreed the slowness of the rhythm was appropriate with the film’s reflective element. Those who valued still, character-focused narratives deemed it a worthwhile and significant offering.
Conclusion
My Sole Desire is a contemplative and elegant examination of self and the deep connections within and the wish to be understood. It sidesteps the predictable in favor of patient and careful personal narrative. Through the perspective of Manon, we see how even a little of venturing into the unknown can result in significant insights.
The film is ideal for those who appreciate sophisticated storytelling, gentle performances, and refined cinematic craft. It provides no simplisitic solutions, however it does leave the viewer’s heart full. Not because everything is tied up nicely, but because something real has been uncovered.
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