Opening Cannes, like closing it, has traditionally been a poisoned chalice. The festival has tried a few moves to address the latter, mostly predicated on the fact that, by the end of nearly two exhausting weeks, nobody cares anymore. But first night is still a tough nut to crack, and with the selection of a very local first-time film — a modest, low-key character study with no traditional red-carpet movie stars — festival chief Thierry Frémaux might seem, at first glance, to be giving into the idea that it’s a graveyard slot.
Leave One Day, however, is a smarter choice than it might first appear — a stealth charmer, if you like — and almost certainly a film to baffle the international festivalgoers who descend on Cannes for the meatier stuff, whether that’s the Hollywood A-list fare or the more punishing arthouse discoveries. It will mean much, much more to the French (who, after all, live there), evoking memories of a country that’s fast disappearing while, at the same time, being fully cognizant of its evolving, multicultural present.
Directed by first-timer Amélie Bonnin, Leave One Day isn’t so notable just for being a musical, since Leos Carax’s Annette filled the same slot just a few years ago. But it is rare to see a film that uses its music choices so playfully and so cleverly. It’s title song, for instance, is a deconstruction of boyband 2Be3’s cheesy 1996 hit; while another key sequence involves French rapper Yannick’s 2000 hit “Ces Soirées-là,” a hip-hop version of Claude Francoise’s 1976 hit “Cette Année-là,” itself a version of The Four Seasons’ 1975 hit “December, 1963 (Oh, What a Night)” and one of the few songs recognizable to non-French audiences. It sounds fresh, maybe even new. But it’s not new — like K. Maro’s infectious “Femme Like U,” which also features — Yannick’s hit is over 20 years old, and the way pop music distracts us like that, creating a big, blurry disjunct between what was then and what is now, between nostalgia and reality, is central to Bonnin’s film.
The lead in her story is Cécile, played by singer Juliette Armanet, best known for performing John Lennon’s “Imagine” at the opening of the Paris Olympics last year. If you didn’t know that, you might not even guess she was a professional, since Leave One Day isn’t a showcase for slick, show-stopping numbers (in one very funny moment, we don’t even get to hear one particularly relevant character’s song at all, just as he’s getting ready to sing it). Rather, it’s a film that wears its ragged edges with pride, matching music to the cast with a poignancy that will resonate with the French far more than others, who may balk at the clunky translations of songs such as Claude Nougaro’s “Cécile Ma Fille,” a soppy but affecting ’60s chanson sung by Cécile’s father. The same could be said of the story, which as old as time, or at least romantic fiction.
When we meet Cécile, she is just about to find out that she is pregnant. It’s the worst possible moment; she’s something of a foodie star (a regular on cooking show Top Chef) and getting ready to open her own restaurant in two weeks’ time. Her father has just been hospitalized, having suffered a heart attack (his third), and on top of that, she has yet to figure out her new eatery’s signature dish. Nevertheless, she takes to the road and goes home, leaving her business partner/lover Sofiane (Tewfik Jallab) to hold the fort.
Cécile’s backstory is a bit on the nose; her parents, Fanfan (Dominique Blanc) and Gérard (François Rollin), are the proprietors of a roadside diner called The Pitstop, serving the kind of food that Cécile has snootily dismissed as being to haute cuisine “what flip-flops are to haute couture.” Cécile knows she said this because Gérard has made a note of all her Top Chef witticisms, especially one that cut so deeply he knows it by heart: “Truck stops are by the road so you can make a fast getaway.” It’s an awkward homecoming, but Cécile reconnects with some old friends, notably hot grunge mechanic Raphaël (Bastien Bouillon), an old flame of sorts, albeit one she never hooked up with. “We live in a time warp,” his friend says. “Nothing moves.” Which is how Cécile comes to realize that Raphaël, despite his too-cool-for-school demeanor, is still in love with her.
The ensuing love triangle among Cécile, Sofiane and Raphael plays out much as you might expect, which may sound a little underwhelming for a film that’s been given such a high-profile slot at an international festival. This is Cannes, though, and the audiences there are less likely to dwell on the details of such a familiar story and respond more viscerally to the way that it’s being told, triggering memories of all kinds of inter-generational music, all kinds of food and so many things even they wouldn’t think they’d ever see anymore, like a dog having the run of a working kitchen. (This particular dog, by the way, is called Bocuse, after the Lyonnaise chef who pioneered nouvelle cuisine.)
Some may wonder why Cannes would open with such a film, but festivalgoers with longer memories will remember the olden days, when someone there thought that three whole hours of The Barber of Siberia would make an awesome curtain-raiser. Compared to that, Leave One Day is a joy; a very particular kind of crowd-pleaser that doesn’t do anything especially new, and, even then, doesn’t really do it in a very distinctive way.
Crucially, though, it has heart, capturing a sense of time having passed and an optimism for the time to come. The cheesy, stopped-clock setup of The Pitstop will be instantly recognizable to any tourist who’s ever found themselves in some backwater bar that’s all Johnny Hallyday this, Pernod that and lots of Gauloises cigarettes. But Bonnin’s film not only embraces those clichés, it celebrates them, and the unexpected, emotional strength of the film lies not in its nostalgia for the past but in its touching belief in our capacity to make peace with the things we have to lose in order to get on with our lives.
Title: Leave One Day
Festival: Cannes (Opening Night, Out of Competition)
Sales agent: Pathé
Director: Amélie Bonnin
Screenwriters: Amélie Bonnin, Dimitri Lucas
Cast: Juliette Armanet, Bastien Bouillon, Dominique Blanc, François Rollin
Running time: 1 hr 33 min
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