An adaptation of Proust's "La Prisoniere" (book five of "Remembrance of Things Past"). Set in Paris, France, it is a serious tale of a tragic and dysfunctional love.
|Original Title||:||La Captive|
|Release Date||:||September 27, 2000|
|Genres||:||Music, Drama, Romance|
|Production Company||:||Canal+, Gemini Films, Arte France Cinéma, Paradise Films, Centre National de la Cinématographie (CNC), Gimages 3|
|Production Countries||:||Belgium, France|
|Writers||:||Chantal Akerman, Eric De Kuyper, Marcel Proust|
|Casts||:||Sylvie Testud, Stanislas Merhar, Olivia Bonamy, Liliane Rovère|
|Plot Keywords||:||paris, transvestism, love triangle, female nudity, painter, taxi, prostitute, sex, hotel, sexuality, drowning, based on novel, jealousy, servant, beach, bar, boat, obsession, self-destruction, shower, restaurant, chauffeur, lie, paranoia, flower, grandmother grandson relationship, passion, suspicion, chase, boredom, normandy, lover, song, kiss, champagne, limousine, painting, promise, friendship, ladder, wine, road trip, swimming pool, liar, love, friends, surrealism, betrayal, singer, food, lesbian, telephone call, memory, allergy, aunt niece relationship, crying, singing, doctor, car accident, fear, bathtub, moving out, tears, pianist, trust, swimming, interrogation, father daughter relationship, captive, surveillance, desire, apartment, following someone, death, seaside, illness, happiness, fatal attraction, stranger, unhappiness, trapeze, pick up, odor, sleeping, subjective camera, theater, home movie, listening to music, shadow, driving, traffic, woman director, invitation, courage, tunnel, beach ball, award, stage performance, willing captive, theatre bar, singing lesson, sleeping in a chair, singing duet, sense of smell|
This is a subtly faithful interpretation of Proust's The Prisoner in which Chantal Akerman makes chasers and voyeurs out of her viewers, craning to see around street corners, straining to make out desired shapes behind warped glass. While the camera pursues the truth about Ariane, who seems to be forever drifting away, we remain fixed in the claustrophobic world of Simon's preoccupied anxiety. As did Proust, Akerman opens a space for the exploration of co-dependent attachment, not only love, and the painful reality of the search for self- avoidance. The Prisoner leaves the viewer caught between the (apparent) bliss of Ariane's ignorance and Simon's monomaniacal certainty. For me, this is the closest French cinema has come (up to now) to bottling the elusive Albertine scent. The silent film reel that plays during the film's opening too recalls the playful beaches of Balbec In the Shadow of Young Girls in Flower, foreshadowing undoing and tragedy. A film for anyone who understands obsession.