I'll Be Your Mirror
Olivier Assayas' Late August, Early September
More skilled as a director than as a writer, newcomer Patrice Toye makes the most of a story that continually announces itself, intentionally and not. (Much of the film takes place in an extended flashback.) The actors are all real and unadorned (the movie wears its lack of affect almost too proudly), as are most of the characters. Ironically, the only character Toye fails to make fully convincing is Rosie herself, who remains a confusion of motivation and psychology, a creature only partially self-realized. That is no doubt crucial to the film's main point, but because Toye insists on dramatizing the miserable conditions of the girl's existence to the edge of bathos, it's hard not to feel at times more suckered than moved. It's a feeling that only worsens when Rosie begins flailing away in her own private hell, and Toye's camera comes off as less sympathetic than curious, almost clinical. Nature and nurture are each assigned fault in Rosie, but here it's the director who's mostly to blame.
LATE AUGUST, EARLY SEPTEMBER | Written and directed by OLIVIER ASSAYAS | Produced by GEORGES BENAYOUN and PHILIPPE CARCASSONE | Released by Zeitgeist Films | At Laemmle's Music Hall
ROSIE | Written and directed by PATRICE TOYE Produced by ANTONINO LOMBARDO | Released by New Yorker Films | At the Nuart
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