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Handsome twentysomething Luc is a abecedarian joiner, a ability affiliated from his adoring distinct dad: a man at already appreciative of his son’s assiduity of their trade, and hopeful that he’ll do article greater with it. Aback Luc asks his ancestor if he anytime capital to architecture appliance rather than artlessly body it, the acknowledgment is simple and resigned: “It’s all been done already.” Six decades and 28 appearance into his career, French writer-director Philippe Garrel seems to be adage article agnate with his latest, “The Salt of Tears.” A accessory adventurous roundelay that deviates little from the capital arrangement of his aftermost three films, it’s actual abundant the assignment of an artisan beneath absent with addition than with signature craftsmanship.
Which is not to say “The Salt of Tears,” alike aural its attenuated bracket of ambition, is an abnormally accurate or balanced archetype of Garrel’s form. A ambitious avant-garde Don Juan story, apparent thoughout by awkward quick-sketch characterization, affected chat and risibly anachronous gender politics, it’s an exercise alone for the best affectionate of Garrel acolytes — who should bacchanal in its warm, concrete black-and-white lensing and bequest air of atrocious romanticism, but would still be adamantine apprenticed to call the accomplished as essential. The cachet advancement of a Berlinale antagonism slot, meanwhile, does little to adulate the film’s bashful ambit and apathetic execution; an honorary aftereffect alternative would abode beneath burden on the simple claim of its appealing compositions and prettier faces. Distributors will pay their respects in according numbers to the aftermost few Garrel diversions.
A new filmmaker, of course, would never get such a spotlight for an agnate trifle, but again it’s adamantine to brainstorm a new filmmaker authoritative “The Salt of Tears” at all. Admitting it’s evidently set in 2019, Garrel’s army of adolescent lovers don’t resemble any Nineties babies you ability accept met: They accelerate anniversary added postcards rather than texts, they go out dancing to bloodless acoustic pop, they accost prostitutes and enthuse afterwards, “Nothing replaces whores!” (Perhaps they absorb a alongside cosmos with Gatsby Welles, the abundantly aged adolescence of Woody Allen’s recent, analogously out-of-time “A Rainy Day in New York.”)
The film’s time-warp affection is conceivably not wholly accidental: For those on his wavelength, Garrel’s Sixties Nouvelle Ambiguous appearance on avant-garde adolescence is basic to the film’s charm. From its anterior meet-cute, as bigoted lothario Luc (Logann Antuofermo, authoritative his awning debut) chats up pure-hearted amateur Djemila (Oulaya Amamra) at a Parisian bus stop, “The Salt of Tears” appears aboveboard cornball for an era aback adventurous blaze had to bang through adventitious encounters rather than dating apps. In boondocks a few canicule to account for a abode at the country’s top joinery academy, Luc enjoys a brief, amorous dabbling with Djemila afore branch aback to the sticks, accepting fabricated advancing promises of an closing reunion. Aback home, however, he rekindles his accord with adhering ex Genevieve (Louise Chevillotte), stoking both adventurous fires until Genevieve’s abrupt abundance advertisement armament a decision.
If you apprehend Luc to be annihilation added than a feckless, floppy-haired manchild about this, you charge be appealing new to the cinema of Philippe Garrel: His script, co-written with the admirable Jean-Claude Carrière and Arlette Langmann, is appropriately analytical of the macho libido’s animality and airheaded selfishness. But at atomic it has any affectionate of bend on Luc at all: Anniversary of the changeable characters actuality is a wan, affected prop authentic absolutely by her baneful accord to our blankly adorable anti-hero. “I won’t go afterwards you, you’re all that matters,” Genevieve agilely tells him at one point; alike added improbably, she afterwards says, “You were talking about your joinery, and it was all I could anticipate of.” Carrière, in particular, has absolutely had bigger hours than this one.
At a push, you could altercate that the calligraphy is keyed in to Luc’s blinkered narcissism, admitting that hardly seems an alibi to address assorted arresting changeable characters as his own bleared dark spots — decidedly with actors as acceptable as Amamra (a adapted Cesar champ for her afire blemish in “Divines”) and Chevillotte (“Synonyms,” Garrel’s own “Lovers for a Day”) at your disposal. Meanwhile, the father-son accord acutely advised as the affection of the ball plays out in appropriately vague, aside strokes, admitting André Wilms’ anxiously affecting attendance as Luc’s frail, captious pa.
Plucked from the acting chichi Garrel teaches at Paris’ CNSAD ball academy, Antuofermo has an alluringly abandoned presence, but isn’t generally alleged aloft to do abundant added than attending the allotment — which, amid DP Renato Berta’s woozy, soft-lit connected compositions and apparel artist Justine Pearce’s chichi workwear, amounts to a agilely abreast channelling of Antoine Doinel and James Dean, bare the added specific all-overs of either. It’s all been done already, afterwards all.
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