Writer-director Monia Chokri’s “The Nature of Love” runs for two hours and is purely focused on yearning, search for the self, and infatuation. Sophia (Magalie Lépine Blondeau has an outstanding magnetism) works as a philosophy teacher. She is stable in the relationship, but it has reached stagnation, with her rich boyfriend-turned spouse Xavier (Francis-William Rhéaume) for the past ten years. When the couple engages in their old summer house renovation, Sophie meets the builder, Sylvain (a sultry Pierre-Yves Cardinal) and is able to upturn the dust filled wick of her passions. The two indulge in a fiery passionate relationship that sends Sophia on a roller coaster of what love and warmth means, as it excites her to start living a former life that she is currently in.
Infidelity and love ragolines are not new to the movies (after all, when one Page has any Emphasis on movies has been this year and reminds of “Challengers” which scoops the most bookmarks), but Chokri’s ingenious approach and combines familiar topics with the lightness of Zeittypes and depth of U-PO.
Connections and frozen shunned romance may limb over in Anthony’s “The Nature of Love,” while many beverages win elegant, purey Zen Romance, stripped down in large, with sleek curve forms, towers over it all. The bright daylight will unnaturally fade totally, to be supported rather with lesser, more personal sources (like the lights in the dashboards of a moving vehicle that appear in the films first sultry scenes). There is always, felt within the quirk in the staging of the film, a pulling of the viewer to inner smiles’ central flickering fire that accompanies Sophie’s heart.
It feels that Émile Sornin wrote the film’s music from a different era, as Chokri’s gantry decisions feel too. However alongside these primary aspects is a crazed contemporary and roughness as communicated of Poet’s editing work – Pauline Gaillard: motion pictures bring together snapshots with nerve WET interactions and revived movements on screen, quickly flip insert cuts and normal shuttering shorts viewing new outtakes. There is beauty in the illusion of “The Nature of Love” as its title suggests, a delightful overbearing of the meddling of the creators.
In one the more vivacious sections of the film, Chuji’s composition reaches humorous extremes in terms of the sequences of feelings consisting of and flip rushing passionate love, coupled with feelings of anxiety and exfoliating brooding. And it is this avalanche of sensations along with the construction and dynamics of the screenplay that can be compared to first times falling. In love. Not too nice not too terrible, pleasant fleeting soothed, pull apart warmth fire with hurried tremor, want.
There is a crazy chemistry between Lépine-Blondeau and Cardinal that pushes the romanticism of the film over the edge, and Chokri’s direction is, as is the norm, simply hypnotizing.
Every love triangle comes prepared and in spite of how the Xavier v.Sylvain dilemma may seem to pertain to aspects of tropes, it has enough utility to warrant redemption. Surprised by her mother’s care toward him, Sophia looks to the wealthy, smart, and cultured Xavier, although a sad and harmlessly sweet lover. At this time, the lower type Sylvain is said to be “intellectually modest” and demonstrates much worrisome aggression and xenophobia, but he is also an astonishing performer in bed. It is unsurprising that these are general stereotypes of ilks of men, but Chokri manages to infuse enough peripheral characterization in their writing to give them real agency, life and dimension (as do the actors).
What these quite basic cut-and-dry base characteristics are required for in their relation to the story is Sophie’s crisis of self-philosophy and the issue whether compatibility is better than chemistry. As we have glimpses of her graduates’ lectures on so radically changed concepts such as love, spanning from Plato all the way to bell hooks, we understand her, and at times us, have gone through all these and probably get through without toy’s ownership of one agency another. Sophie can always be seen testing the waters just before committing to each of her decisions and usually, one finds her leaping and twirling full of gravity at the very end of every such decision, arms stretched out literally and pictorially into the sea of consequences in addition to that all claiming now, ‘calling for head’– reconciliation.
In between tantalizing more complaints against herself in their sexual mishaps with caught herself wearing a leash and attending dreadful dinner parties, the film promises absurd of its high steam sexy along with wonderful sibyls so inelegantly quested.
“The Nature of Love” is the perfect romantic-comedy providing an insight into the perplexity that we experience in the process of trying to comprehend one of the most eastern feelings that is humanity – love, in all its deserved sating of one’s “ooh”, “hahaha”, “oh god” etc.
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