Colette (2018)
Directed by Wash Westmoreland
After marrying a successful Parisian writer known commonly as Willy, Sidonie-Gabrielle Colette is transplanted from her childhood home in rural France to the intellectual and artistic splendor of Paris. Soon after, Willy convinces Colette to ghostwrite for him. She pens a semi-autobiographical novel about a witty and brazen country girl named Claudine, sparking a bestseller and a cultural sensation. After its success, Colette and Willy become the talk of Paris and their adventures inspire additional Claudine novels.
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It’s these subtle touches that all make sense when you realize that Colette is produced by Killer Films, which often produces films with queer themes: Todd Haynes’ Carol (and many of his other works), Kimberly Peirce’s Boys Don’t Cry, John Krokidas’ Kill Your Darlings, to name a few.
Backed in part by “Carol” producer Christine Vachon and Killer Films, “Colette” doesn’t shy away from its protagonist’s same-sex attractions; neither does it play her various love affairs for cheap exploitation.
Lejos de la solemnidad del cine académico y del preciosismo del cine de qualité (tiene algunos pasajes que remiten a la filmografía de James Ivory pero luego está más cerca del espíritu de Carol, de Todd Haynes), la historia fluye con ligereza, humor, encanto y, al mismo tiempo, con furia a la hora de exponer los efectos del patriarcado, que tuvo a Colette primero como víctima y luego como implacable cuestionadora.
Black Panther was fit to bursting with selling points, all combining to deliver the studio’s best film: Michael B Jordan’s standout villain, scene-stealing performances from Danai Guria and Letitia Wright, plus the direction of Creed’s Ryan Coogler who proved an inspired appointment.
It’s these subtle touches that all make sense when you realize that Colette is produced by Killer Films, which often produces films with queer themes: Todd Haynes’ Carol (and many of his other works), Kimberly Peirce’s Boys Don’t Cry, John Krokidas’ Kill Your Darlings, to name a few.
Typically eye-catching costume design by Andrea Flesch (who did such striking work on Peter Strickland’s The Duke of Burgundy ) add to the film’s appeal, as does the astute casting of supporting players Rebecca Root and Jake Graf, and the sharp use of locations in the UK and Hungary, which double handsomely for France.