Isabelle Huppert in ‘Promises’ (‘Les Promesses’): Film Review | Venice 2021

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In this political drama directed by Thomas Kruithof, a French mayor confronts the dangers of ambition.

At the same time, in a different part of town, Clémence, her deputy, Naidra , and her co-conspirator and chief of staff, Yazid , are trying to pitch a rescue plan that, if successful, could win them critical funding for the building. But there is a problem: Michel has written a fiery, detailed letter outlining the incompetence of Clémence’s administration to Jérôme Narvaux , a high-ranking official responsible for proposing the plan to the prime minister.

This involved setup initiates a series of events that up the narrative stakes of this smart film . After a dispiriting meeting of concerned parties,splits into two stories that eventually come together in an affecting, if a little predictable, ending. One thread follows Clémence who, after 12 years in office, decides not to run for another mayoral term.

Watching this unfortunate evolution is Yazid, whose relationship with Clémence becomes one of the most enjoyable parts of the film. In the beginning, their dynamic mirrors that of a student and teacher. Yazid has never claimed political purity , but still he struggles to understand his mentor’s transformation. Observing her, in the end, helps him clarify and even adjust his wants.

If Huppert and Kateb’s dynamic helps keep the film’s momentum, then the parallel narrative about the tenants of Les Bernardins grounds it. There isn’t a shortage of inspiring speeches or passionate monologues about the role of a politician in, and at times the film veers into overly cerebral and borderline sanctimonious territory. What pulls it from the brink, however, are the moments when the tenants and their collective organizing efforts become the focus of the narrative.

As Clémence and Yazid war with themselves and one another, the tenants of Les Bernardins try to get their needs met and their building repaired. “The state will always find a way to do nothing,” Michel says at one point. The implications of this sentiment hang over the rest of the film, while personal and political issues repeatedly stymie efforts to help these tenants. It brings into sharp relief the real crisis of political ambition: the way it always manages to leave the people behind.

 

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