Film review: Light springs eternal in Lux Aeterna

is all of 51 minutes. About a third of that is actresses Béatrice Dalle and Charlotte Gainsbourg sitting around on a film set and discussing horror stories from their professional lives. Honestly, I could have watched that all day.

But the show must go on. The two are pulled into meetings and eventually a shoot of a pivotal scene in the movie they’re making, a medieval drama in which Gainsbourg plays a suspected witch being burnt at the stake. It’s a chaotic set, with producers, the director and the cinematographer all sniping at one another and vying for control. A young would-be filmmaker keeps pestering the women to be in his movie, which he assures them has financing and just needs stars. A journalist wants information about the production. Charlotte gets a worrisome call from her young daughter, the event made even stranger by the fact that she’s in an autopsy room set, complete with a rubber corpse.

On the one hand, Noé seems to be saying something about the madness of moviemaking, the dark seam of insanity that runs beneath the polished gem of a finished production. But the split-screen framing, overlapping conversations, and 10 minutes of brightly flashing lights means we don’t so much learn about the anarchy and mayhem as just live through it.

Occasional quotations from famous directors and even the end credits feature only first names. Noé has said he did this to mimic the way surnames were less used in times when Latin was spoken. Let’s hope he didn’t pay his performers in a similarly retro style, possibly with salt.Share this article in your social network

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