The Underrated Netflix Movie That Will Amaze and Mesmerize You for 110 Minutes

The Underrated Netflix Movie That Will Amaze and Mesmerize You for 110 Minutes
The Underrated Netflix Movie That Will Amaze and Mesmerize You for 110 Minutes

The Spanish essayist Miguel de Unamuno (1864-1936) had rightly said that life is oblivion. We need to choose what we want to remember, which less happy parts of our journey we have to sweep under the rug of memory, which circumstances should occupy in us a privileged share of our experiences. Human relationships are full of forgettable situations, marked by humiliating episodes that, although they have given us some great teaching in a more critical phase, deserve only the emptiness of contempt. What other feeling can be at the same time a source of delight and reproach if not love, reliquary of the most valuable treasures and the most inescapable and profound shames of the human race? Centuries pass, revolutions succeed one after another, wars decimate peoples in the name of honor and the maintenance of the civilizing regime, but man’s desire to love and be loved – passing a long way from rejection and overthrow morality, obviously — is a presupposition that no one renounces.

Freely inspired by “Jacques the Fatalist and His Master” (1778), a novel by the French Enlightenment artist Denis Diderot (1713-1784), French Emmanuel Mouret discusses a woman avant la lettre in “Mademoiselle Vengeance” (2018), a story set at a time when ideas such as feminism, empowerment, freedom of expression and even dignity were nothing more than a chimera for women, inferior and naturally submissive beings, until one gets tired and decides to get revenge. This fable about bored aristocrats whose great fun was to weave adulteries and other emotional traps throughout the 18th century is not by chance very similar to another symbol of French literature of the period, which only confirms the argument of the brutish elite hiding under silks. and ostentatious hairstyles, an element that Anne Bochon values ​​in a meticulous work of reconstitution of the current fashion. In a world without the internet or social networks, variegated gentry dribbled the esplim, setting one another up, as can be seen in “Ligações Perigosas” (1782), the typical novelão, written by Choderlos de Laclos (1741-1803). ), this one brazenly anthropophagous by contemporary pop culture in postmodern gems, such as “Cruel Intentions” (1999), directed by Roger Kumble, and the very recent “Punishers” (2022), taken to the screen by Jennifer Kaytin Robinson.

Madame de La Pommeraye, the title character, is the wealthy widow, already in her years, but still beautiful, who retires from the court of King Louis 15 (1710-1774) to the luxury of a sumptuous homestead in the French countryside. Cécile de France gives this woman the versatility that the role demands, since, at the beginning of the story, the protagonist presents herself in a mixture of comfort and an almost paranoid sense of self-protection, scalded by unhappy relationships and not without some difficulty resisting the attacks by the Marquis d’Arcis by Edouard Baer, ​​a consummate Casanova who boasts of his conquests without any shame, taking care to make each victim feel like the first and the last. Baer perfectly absorbs the essence of the character, a fescenino who, like Sébastien Valmont de Laclos, knows very well how to take advantage of the vulnerabilities of others, especially when it comes to women. As often happens in works of fiction, events unfold that allow the Marquis to extend his stay at the property of Madame de La Pommeraye, who, thinking she is facing a new man, more mature, more serene, more man, finally gives in to your charms.

In the imminence of the third and final act, Mouret adds the characters that give the grandiloquent conclusion to his script, always faithful to Diderot’s pen. Enter Madame de Joncquieres from the well-groomed Natalia Dontcheva, the once dignified noblewoman, but disgraced by becoming pregnant with another nobleman, who, like the Marquis d’Arcis does to Madame de La Pommeraye, had also abandoned her, and even more importantly, her daughter, Mademoiselle de Joncquieres — the title in English also alludes to this character as responsible for leading the plot, such is her prominence —, played by the irresistible Alice Isaaz.

“Mademoiselle Vingança” retains the air of an 18th century feuilleton by condensing the good plot twists in the closing, in which De France reappears with the leading role in the introduction, without the other types being erased. Some well-known people say that narratives like these are dated, “age poorly” and syrupy. The hard news doesn’t get tired of denying them.


Movie: Mademoiselle Vengeance
Direction: Emmanuel Mouret
Year: 2018
Genres: Drama romance
Note: 8/10

The article is in Portuguese

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