Spring Blossom (Seize printemps)

 

Writer/director/actress Suzanne Lindon

director on the set

SPRING BLOSSOM (Seize printemps)                    B+                                                               France  (73 mi)  2020  ‘Scope  d: Suzanne Lindon

Having worked together in co-writing the Claire Denis film The Fence (Le Cri des Gardes) (2025), Denis acknowledged having known Lindon since she was a little girl, as she is the daughter of frequently used French actor Vincent Lindon, who starred in her films VENDREDI SOIR (2002), 2013 Top Ten List #6 Bastards (Les Salauds), and Both Sides of the Blade (Avec amour et acharnement) (2022), while her mother is French actress Sandrine Kiberlain, from Maïwenn’s Polisse (2011) and André Téchiné’s Being 17 (Quand on a 17 ans) (2016).  What may be most astonishing is that the young first-time director wrote the script when she was just 15, during the summer before she started high school, and then starred in and directed the film at age 19, recalling Xavier Dolan’s 2010 Top Ten Films of the Year: #7 I Killed My Mother (J’ai Tue Ma Mere) (2009), which was written at the age of 16, placing himself in the lead role and then directed at the age of 19, with both films premiering at the Cannes Film Festival.  This is a subversive take on a coming-of-age genre seen through the impressionable eyes of a young Parisian high school girl named Suzanne, played by the director, exploring the turbulence of adolescence and the allure of first love, where the degree of restraint shown here is uncommon.  The fierce independence of the lead character was an attempt by the director to establish her own identity, hoping to claim creative autonomy from her better known parents.  As we witness how curiosity is so essential to development, Lindon wanted to explore the mindset of a young girl who imagines a more intense reality with an older man and longs to grow up quickly, where it’s more about developing a sense of curiosity and wonderment, exploring first love and youthful curiosity through unspoken glances and dance, only to realize the value of her actual age.  Premiering as one of the First Features at Cannes in 2020, when the festival was largely a virtual experience due to the outbreak of Covid, literally getting lost during the pandemic, the film defies expectations, as it’s not at all what we’re used to seeing, as it navigates a young girl’s infatuation with an older 35-year old man named Raphaël, Arnaud Valois from Robin Campillo’s 2017 Top Ten List #8 BPM (Beats Per Minute (120 battements par minute), yet avoids cliché’s, sexual exploitation, and sensationalism and instead embraces the subtleties of curiosity and self-discovery.  Their intimate moments onscreen together are shown with absolute originality.  Sort of the gender opposite of Agnès Varda’s KUNG-FU MASTER! (1988), with Jane Birkin playing a lonely 40-year old mother who develops a tender, unconventional romance with her daughter's 14-year-old classmate, played by Varda’s real-life son, Mathieu Demy, this film stands in stark contrast to the lurid sexual teen exposé of Maurice Pialat’s À Nos Amours (To Our Loves) (1983), where there’s even a poster in her room of the lead 15-year old character Sandrine Bonnaire, also named Suzanne, who uses sex as a means of rebellion and escape, or Catherine Breillat’s 36 Fillette (1988), showing a brazenly sexual affair of a teen girl and an older man.  These films take us back to our early teenage years when we craved anything new, bored by the stifling monotony of everyday life where nothing ever changed, seemingly stuck in time, always searching for something more, but having no idea how to find it, all of which suggests the life of a teenage girl is more complicated than we thought.   

Moved by the performance of River Phoenix in Sidney Lumet’s Running On Empty (1988), this tender and often poetic introspection of the moods and anxieties of teenagers recalls Gia Coppola’s Palo Alto (2013).  With delicately refined intimacy and an understated elegance, though told in a minimalist and understated social realist style, this contemplative coming-of-age romance resembles a documentary, where the details of ordinary life are stifling and oppressive, as Suzanne finds it hard to relate to boys her age, as they’re so immature, lacking anything resembling intelligence or imagination, yet she’s surrounded by them at school, finding it hard to take any of them seriously.  Always on the edge of conversations, not really listening or paying attention to the groups she’s hanging out with, yet still part of the social scene of her adolescent world, Suzanne comes from a book-filled home with liberal parents, including a supportive mother (Florence Viala from la Comédie-Française), and her busy yet affectionate father, Frédéric Pierrot from François Ozon’s Young & Beautiful (Jeune & Jolie) (2013) and By the Grace of God (Grâce à Dieu) (2019), who are very contemporary in their understanding of their daughters, which also includes a more sociable and energetic older sister Marie, Rebecca Marder from Ozon’s The Crime Is Mine (Mon Crime) (2023) and The Stranger (L'étranger) (2025).  Nothing about her life stands out, as she’s apparently bored and unchallenged even while living in the heart of the picturesque Montmartre district in the 18th arrondissement of Paris and rarely goes out, which her family finds a bit odd, yet despite a quiet and studious presence, she does well in school.  Every day on her way to high school, she passes the Théâtre de l’Atelier, often seeing one of the actors sitting out front having a smoke or sitting in the outdoor café, appearing melancholy and as equally disconnected as she is, where she begins to incorporate Raphaël into her life, even if it’s only in her imagination.  In the dense interiority of adolescence, imagination plays a more prominent role, perhaps even surpassing reality, which may be the epitome of the teenage experience.  In one scene, she is seen kissing her reflection in a mirror, in another she watches as his scooter breaks down, or she sneaks into the theater to watch his rehearsals, showing a keen eye for some of the minute details of the performing arts, yet she is literally transported into this new world.  Suddenly immersed in the world of grown-ups and adult choices, Suzanne begins questioning the pitfalls of blossoming too quickly and missing out on life, namely that of a 16-year-old, which she had struggled so much to enjoy in the same way as her peers.  A character study instead of plot-driven film, Lindon doesn’t shy away from the open contradictions, revealing just how intelligent, observant, yet also extremely naïve she is, developing into a romantic fantasy, where this is the antithesis of the way teens are typically portrayed, usually driven by Lolita-esque sexualized desires and self-centered motivations, or creepy predatory behavior from older men, but there’s an elegant sweetness to the very chaste way this plays out, which brings something entirely different to the viewing experience, allowing us to imagine how quietly romantic a first love really can be, in all its innocence and rhapsodic elegance, as we’re literally experiencing what she experiences, where a schoolgirl crush gets viewed as real love.

By the time she decides to sit in the same café at a neighboring table, seemingly caught up in a Boris Vian book she’s reading, drinking a non-alcoholic mix of grenadine and lemonade, it’s impossible for Raphaël not to notice, so it’s only polite that he say something, yet what happens boggles the mind, as it’s not at all what we expect.  The whole thing plays out like a wistful dream, like maybe it happened, or maybe it didn’t, where it’s all about suggesting a mood, yet the character certainly imagines that it happened, and that’s what the viewers experience, as it becomes something positively delightful, a choreographed table dance right out of the Charlie Chaplin catalogue, similar to the Dance of the Dinner Rolls, “The Oceana Roll” scene from THE GOLD RUSH (1925), Bread dance | "The Gold Rush" YouTube (1:31), yet heard over headphones set to the wondrous music of Vivaldi’s Stabat Mater, with a gorgeous song sung by countertenor Andreas Scholl, both closing their eyes while synchronously moving their hands and facial movements to the music like a table ballet, Spring Blossom - Clip (2020) YouTube (3:41).  This completely alters the tone of the film, as we’ve entered imaginary realms, which is where this film lingers for a good portion of time, using synchronized dance numbers and choreographed movement as a physical language to express unspoken emotions and the abstract intensity of young desire.  Suzanne can be seen joyfully skipping and dancing down the street after being invited on her first date, seen miming the lyrics of French singer Christophe’s catchy hit Señorita YouTube (2:54), reminiscent of Léos Carax in Mauvais Sang (Bad Blood) (1986), with Denis Lavant seen stumbling, cart-wheeling, and then sprinting down the street in a blur of sheer exhilaration set to the music of David Bowie’s Modern Love, Mauvais Sang (Leos Carax, 1986) - Modern Love YouTube (5:06), also emulated by Greta Gerwig in Frances Ha [2013] - Dance in the street - YouTube (1:08), each expressing a sudden rush of youthful liberation, one of those giddy outbursts of spontaneous emotion, followed shortly afterwards with Suzanne doing a slow dance with her mother at home.  Despite the obvious age differences, both are dealing with their own personal struggles, as Raphaël is a frustrated stage actor who has grown tired of reciting the same lines night after night, with Lindon focusing on a shared sense of ennui rather than a physical romance, showing no interest in over-sexualizing her, where there’s no sex, nothing creepy, and not even a full-blown kiss, instead utilizing expressive dance sequences to show an emotional connection.  Shot in ‘Scope, cinematographer Jérémie Attard tenderly captures the intensity of these fleeting moments, as Raphaël does little more than gallantly kiss her hand or gently nuzzle her neck, as we watch them contemplatively staring out at the world or at each other, both caught up in their own silent thoughts, with Suzanne abruptly deciding to pull back before things escalate, crying in her mother’s arms afterwards, “I fell in love with an adult.”  This is a different kind of first love movie, subverting all expectations, as not much happens, yet everything happens, if you’re capable of reading the signs, with Lindon herself singing over the end credits in a very distinct French style, which could just as easily have been from movies of the 60’s or 70’s, Seize Printemps - Suzanne Lindon ⌈sub english⌋ YouTube (2:33).

A Traveler's Needs (Yeohaengjaui Pilyo)

 

Writer/director Hong Sang-soo

receiving Silver Bear at Berlin

Hong at Berlin with Isabelle Huppert

Korean poet Yun Dong-ju

Hong with Kim Min-hee

A TRAVELER’S NEEDS (Yeohaengjaui Pilyo)      B                                                             South Korea  (90 mi)  2024  d: Hong Sang-soo

Wishing not to have                                                                                                                        so much as a speck of shame                                                                                                                                                                                                                                                          Toward heaven until the day I die,
I suffered, even when the wind stirred the leaves. 

With my heart singing to the stars,
I shall love all things that are dying. 

And I must walk the road
that has been given to me. 

Tonight, again, the stars are
brushed by the wind.

—Foreword or Seosi, Yun Dong-ju poem inscribed on the rock memoriam, from Sky, Wind, Stars, and Poetry, 1941, [POEM] "Foreword" by Yun Dong-ju (1941) - in the 1930s ...

Another inter-generational movie that examines the nature of relationships, but in an atypical way, as it provides so little information, where things are merely hinted at on a surface level, requiring viewers to make up their own minds about what they see, where the changing locations are unique to this film, giving viewers something more to think about, with Hong always in search of greater meaning, where the banalities of ordinary existence are illuminated like a Haiku poem, where each new film may feel more like chapters of a new book Hong is writing.  A minimalist film without a plot or a story, the filmmaker’s eighth feature in just over four years, coming just before By the Stream (Suyoocheon) (2024), where the mystery is that it exists at all.  Nowhere else will you find a film like this, as subtle as anything you’re going to see, existing only in the imagination of Hong Sang-soo, who examines the very nature of identity, but not in the traditional sense, as everything remains hidden beneath the surface, where you must sense, or infer, what you think you comprehend.  It probes the existential dilemma, asking if this is how we view ourselves, or how others see us, inevitably a combination of the two, yet either way, there’s no definitive right answer.  This marks Hong’s return to making a film with the incomparable French actress Isabelle Huppert, having done so twice earlier with In Another Country (Da-reun na-ra-e-seo) (2012), arguably among Hong’s weaker efforts, and the more engaging Claire's Camera (La caméra de Claire) (2017), which was shot in only two weeks entirely in and around the neighborhood surrounding the Cannes Film Festival while it was taking place, with the actress’s sunny disposition matching the sun-drenched charm of the city.  While this may be the sparer of the three, like those films, this was also shot mostly in English, supposedly a universal language around the globe, with some noticeably struggling to express themselves, which may as well be what this film is about, shot in various locations around Seoul, including neighborhoods in the Gangbuk-gu district, with mountain peaks seen off in the distance.  Huppert’s lighter-than-air performance is about as far from Haneke’s The Piano Teacher (La pianiste) (2001) as you can imagine, as Huppert is equally adept in ultra-serious roles.  Hong’s fourth award at the Berlin Film Festival in just five years, winning a Best Director Silver Bear for The Woman Who Ran (Domangchin yeoja) (2020), a Best Screenplay Silver Bear for Introduction (Inteurodeoksyeon) (2021), a Silver Bear Grand Jury Prize (2nd Place) for The Novelist's Film (So-seol-ga-ui yeong-hwa) (2022), and another Silver Bear Grand Jury Prize for this film.  Amusingly, when awarded the Silver Bear in 2024, Hong wondered on stage what the Berlinale jury saw in the film, acknowledging that he doesn’t fully understand what people see in his films.  Many of Hong’s films deal with the awkwardness of human behavior, failed relationships, and an inability to articulate inner thoughts, even in their own language, as failures of communication exist in abundance, so this simply accentuates a theme that is prominent throughout Hong’s films, where you have to search to find his films, which remain relatively obscure, generating a wide array of opinions, where critics did not embrace him early in his career, even though his first five films remain among his best, but today his filmography is rightly deified by a growing part of the world’s cinephilia.  A traveler’s needs are money, food, drink, and a roof over their head, but there’s also a need to be part of something larger than yourself.  What’s unique to this film is the prevailing sense of innocence generated by the traveler’s wanderings, as she enters and exits people’s lives with regularity, drawing differing reactions, yet has no apparent agenda, which some find suspicious, but this leaves her more open to explore the world around her with unbiased eyes, which some might find more genuinely honest, as she’s not carrying any cultural baggage around with her, making her a true seeker who is open to surprises.    

Isabelle Huppert is Iris, a roaming French teacher in Korea with an unorthodox teaching method, whose motives are never clear, where the film is a series of improbable encounters, each featuring a different person playing a musical instrument, a piano, a guitar, a harmonium, and a recorder.  Iris is not in the habit of using textbooks, or grammar rules, and does much more than translating common words or phrases, but instead invents her own style, making it personal, asking students to examine their own feelings, and think of a thought or a series of thoughts that express something meaningful and write it down in French, repeating it often.  In this way, the purpose of learning a language is to unlock meaning, where a new language becomes a way of understanding life itself, as her goal seems to be that to hear your own personal thoughts in another language flips a switch, making it a warm and wonderful experience, not difficult or troubling in any way, where it’s essentially a way to use language to better understand yourself.  With the teacher posing a single question, the student tries to describe how they feel about it, but not just a single feeling, digging deeper into something meaningful so that it sticks with you, providing a greater appreciation of who these people are, feeling a sense of belonging.  Iris then transcribes those thoughts into French on little index cards and asks that they read and reread these passages regularly, becoming intimately familiar with them, informing them, “You’ll love your true emotion expressed in a foreign language.”  For some strange reason, she is well paid for providing these services, though from what we can see, it feels more experimental that reliable.  There’s a sense of curiosity about why she’s in Korea, and how long it’s been, wondering why she felt a need to leave France and travel abroad, obviously seeking something uniquely different, but we never get a handle on what that is, as she remains aloof and unreadable for the most part, but always friendly and even flirtatious with men, with a strange habit of craving makgeolli, a milky white rice wine drink that offers a kick, yet also provides beneficial medicinal properties.  The tremendous screen presence of Huppert is always a treat, especially honed down to the bare essentials as she is here.  The simple rhythms are in harmony with Hong’s other films of the same period, like old familiar faces, but this feels more enigmatic, and in something of a surprise, there are no alter egos of Hong himself.  At the core of Hong’s artistry is language, and the ability to look under the surface, beyond the barriers of misunderstanding that must be overcome when you’re conversing with strangers in a language that is foreign to you, where your words don’t carry the same weight as when native speakers converse among themselves.  For instance, Iris doesn’t speak Korean, so her interaction with Korean characters takes place mainly through gestures, facial expressions, and stunted English.  This creates a constant sense of alienation, but also a more exposed vulnerability, which becomes a powerful metaphor of the human condition. Huppert is capable of communicating an infinite range of emotions, making the gap between what is said and what is understood palpable, where Hong’s interest lies in this expressive display of interaction and emotion which end up generating greater depth, where the goal is always finding deeper meanings.  There are very few filmmakers as distinctive as Hong Sang-soo, a true independent in a society where that doesn’t exist, so he’s carved out his own career path, using a style that is not easy to pin down and describe, where his greatest strength lies in his simplicity, so subtle that it often eludes critics, compounded by the director’s reticence to publicly discuss the meaning of his work. 

Told in three segments, the film opens in a living room in front of a heavily stocked bookshelf with Iris and the much younger I-song (Kim Seung-yun, the girl from In Water (Mul-an-e-seo) and the documentarian filmmaker from In Our Day (Uriui haru), both from 2023) discussing the lesson plan, but as they decide to walk outside, I-song stops to play a short classical piece on the piano as Iris sits and smokes outside while listening, asking her afterwards what she was thinking about while playing, attempting to reach a much deeper realm, which can be challenging.  The choice of an international female protagonist offers an unprecedented point of view in Hong Sang-soo cinema, offering the film a unique evocative quality.  Iris is a mysterious, free-spirited woman who delves into her students’ hidden feelings, asking insistently, “What do you really feel inside?” which could just as easily have been asked of any character in a Hong film.  For her, it’s all about getting her clients to reveal their thoughts and feelings, which she jots down in French on index cards, and asks the students to repeat the phrases with regularity until they identify with its meaning.  From the philosophical introspection in Akira Kurosawa’s RASHOMON (1950) to Sofia Coppola’s meditative Lost in Translation (2002), filmmakers have regularly examined the nature of identity, in many cases the juxtaposition of Eastern spiritualism with Western individualism, where who knows how much of this is getting lost in translation.  A candid observation of the cultural differences between East and West, the free spirited Iris is an example of Western behavior that contrasts with the mostly reserved body language of her Korean counterparts.  As they walk through a nearby park, I-song shows her a memorial with her late father’s inscription on it, a reminder of his importance in her life, but also a reminder that he’s gone, leaving a giant hole in her heart, as she’s deeply affected every time she walks by.  Dressed in her flower-print dress with a green cardigan and familiar sunhat, Iris blends into the natural world around her, reflected by the manner in which she crosses a small stream, first taking her shoes off and then soaking her feet in the water, apparently getting some needed relief, "A Traveler's Need" (Yeohaengjaui pilyo) | Clip | Berlinale 2024 YouTube (1:05).  Her next visit is with a married couple, Won-ju (Lee Hye-young) and Hae-soon (Kwon Hae-hyo), where Won-ju is a bossy wife who takes a particular fascination with how unusual the teaching style is, especially when learning Iris has no teaching experience whatsoever, but simply came up with this idea out of necessity, as she has no other means of support.  The quick back and forth suggests she’s suspicious, to say the least, but she quickly takes greater pleasure playing a short tune on the guitar, while Iris wanders up to the roof to smoke.  Eventually she reveals her love of drinking makgeolli, so they share a few rounds, with Iris getting quite flirtatious with her husband, almost like a little school girl, where you simply wonder what in the hell is going on.  They also walk outside into the park and discover a Buddhist shrine overlooking a small waterfall, with fish in the lower pond, but it’s the discovery of another rock memorial that stands out, as it’s a tribute to poet Yun Dong-ju who died at a young age in a Japanese prison when the nation was under occupation and is still one of the most beloved poets in Korea.  Serving as a quiet and contemplative moment, a poem etched into the rock features the memorable lines, “To be without a speck of shame until the day I die,” and “I shall love all things that are dying,” while another one of his poems appears on the wall of a library, “My path is always a new path,” learning that the poet lived during a time when the wartime Japanese Empire was erasing Korean culture and forcing assimilation, when Korean language was banned in schools, businesses, and even in homes, and later in media, journalism, and literature, so the subversive act of writing poems in Korean drew the ire of Japanese authorities.

In the final section she appears to return home, apparently sharing the apartment with a roommate, the young poet In-guk (Ha Seong-guk), happily and surprisingly sharing what she earned that day to pay her share of the rent.  He also sits down and plays a short piece on the harmonium, where they are interrupted by the doorbell, only to discover it’s his mother (Cho Yun-hee), who simply takes over his life from the moment she enters.  Feeling uncomfortable about how to introduce Iris, she solves the problem by pretending to be his French teacher before going out for a walk, leaving them some time together.  Like the exaggerated hysteria from In Our Day (Uriui haru) (2023), the hovering, overprotective Asian mother goes over-the-top in melodramatic overreach when learning of her son’s relationship to an older 71-year old woman, who is old enough to be his mother, or even grandmother, claiming she’s not who he imagines her to be, but she doesn’t really get it, reading more into it than is really there, where it may simply be a case that young people today are more open to having older people as friends, or companions, something that would be unthinkable in his mother’s generation.  This mirrors Hong’s longstanding personal relationship with actress Kim Min-hee, who is 22 years younger, a fact that has been much criticized in his country for the age difference.  Iris, considered eccentric by Asian standards, certainly stands out with what might be described as a shameless attitude, as she has a habit of kissing the Koreans she meets, men and women alike, on both cheeks in the French way, which clearly surprises them.  Nonetheless, his mother’s regressive reaction is jolting and impactive, embracing the entrenched values of modesty and responsibility that Eastern families feel, reflective of her over-controlling ways, something her son is most likely trying to escape, so it’s all the more remarkable when he passionately defends Iris as living a sincere life, not blinded by what’s fake, claiming “She lives each day never forgetting that one day she must die.”  Her mother is not convinced, and seems untrusting by nature, but quickly regains her composure by offering him food, regaining the motherly balance in their relationship, concluding with a half-real and half-imagined sequence about how In-guk and Iris first met, with Iris seen playing a recorder (badly, according to In-guk) on a park bench, leaving viewers at an impasse as to what really happened, which is the real beauty of the film, as it’s not definitive, but more suggestive, allowing viewers to decide what they think, with the filmmaker adding his own pensive piano music over the final sequence.  In a series of awkwardly comical and melancholic scenes, the humanist cinema of Hong Sang-soo deftly balances two different artistic impulses, one that veers towards playful modernist formalism that makes us aware not just of the film medium itself, but of the filmmaking process and of the mechanics of narrative, while the other moves towards sheer realism, an approximation of the sprawling, disorderly nature of life itself, in each case expressed with a complete lack of artifice.  Many detractors of Hong’s films like to say he makes the same movie over and over again, but with each new work the filmmaker employs subtle variations in his artistic aesthetic and style that are simply less obvious than other directors, ingeniously subverting the way we think about a cinematic work, which is something most directors do NOT do.  Underlying the complexity of Hong’s work is a profound sense of humor and a fondness for deeply flawed protagonists, characters who muddle through despite their hapless attempts at romantic intimacy.  Hong has been compared to such French New Wave directors as Éric Rohmer or the DIY late works of Jean-Luc Godard, but he stands alone as a true original.