I’ve Loved You So Long

Anchored by Kristin Scott Thomas’ searing, downright engrossing performance, I’ve Loved You So Long ultimately manages to overcome its admittedly flabby midsection to become a deliberately paced yet thoroughly rewarding drama. The film casts Scott Thomas as Juliette, a recently-paroled inmate who agrees to live with her sister (Elsa Zylberstein’s Lea) until she’s able to get on her feet – with the bulk of the proceedings revolving around Juliette’s ill-tempered efforts at integrating herself back into society. Filmmaker Philippe Claudel has infused I’ve Loved You So Long with a low-key visual sensibility that certainly reflects the spare nature of his script, although there’s little doubt that Claudel’s most potent weapon inevitably proves to be Scott Thomas’ uncompromising turn as the abrasive central character. The actress effectively steps into the shoes of a figure that is, initially, flat-out unlikable, as the substantial chip on Juliette’s shoulder ensures that she approaches most situations with as hurtful and downright blunt a demeanor as one could envision (eg after sleeping with a stranger and being asked if the sex was satisfying, she responds, “no, not at all.”) It’s only as the movie progresses and the mystery behind Juliette’s incarceration is slowly-but-surely revealed that one starts to sympathize with Scott Thomas’ character, and it’s also worth noting that Claudel generally does a nice job of avoiding overt instances of sentiment or melodrama (with the only pronounced exception to this a sequence in which Lea loses her temper in front of several students). And while the film’s emotional impact is dulled by its undeniable overlength, I’ve Loved You So Long‘s place as an above-average debut for Claudel is cemented by Scott Thomas’ Oscar-worthy work.

*** out of ****