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Valerie Donzelli''s Venice Competition Film ''At Work'' Boarded by Kinology (EXCLUSIVE)

Valerie Donzelli's Venice Competition Entry: A Deep Dive into "Just the Two of Us"

In the glittering world of international film festivals, few events capture the imagination quite like the Venice Film Festival. This year, French director Valerie Donzelli has emerged as a standout figure with her latest cinematic offering, "Just the Two of Us" (originally titled "L'Amour et les Forêts" in French), which has secured a coveted spot in the festival's main competition. The film, a gripping psychological thriller adapted from Eric Reinhardt's novel, explores the harrowing dynamics of domestic abuse and toxic relationships, blending intense drama with moments of unexpected levity. Donzelli, known for her bold storytelling and personal touch in films like "Declaration of War" and "Marguerite & Julien," brings her signature style to this narrative, transforming a story of entrapment into a profound commentary on love, freedom, and resilience.

The plot centers on Blanche, a young woman played by Virginie Efira, who falls into a seemingly idyllic romance with Gregoire, portrayed by Melvil Poupaud. What begins as a passionate affair quickly spirals into a nightmare of control and manipulation. Donzelli masterfully depicts the subtle shifts from affection to obsession, drawing viewers into the suffocating reality of emotional abuse. The film's title, "Just the Two of Us," evokes both the intimacy of a couple and the isolation that comes with it, a duality that Donzelli exploits to great effect. As Blanche attempts to escape her husband's grip, the story unfolds across dual timelines, weaving between the initial bliss and the escalating horror, creating a tense, almost claustrophobic atmosphere that mirrors the protagonist's mental state.

Donzelli's approach to the material is deeply personal and unflinching. In interviews surrounding the film's premiere, she has spoken candidly about her motivations for adapting Reinhardt's novel. "I was drawn to this story because it speaks to the invisible chains that bind so many women in abusive relationships," Donzelli shared during a press conference in Venice. "It's not just about physical violence; it's the psychological warfare that erodes one's sense of self." This perspective is evident in the film's nuanced portrayal of Gregoire, who isn't depicted as a one-dimensional villain but as a complex figure whose charm masks deeper insecurities and controlling tendencies. Poupaud's performance has been praised for its subtlety, capturing the charisma that initially draws Blanche in, only to reveal the darker undercurrents.

Virginie Efira, a frequent collaborator with Donzelli, delivers what many critics are calling a career-defining role. Her portrayal of Blanche is raw and multifaceted, showing the character's evolution from naive optimism to desperate determination. Efira's chemistry with Poupaud is electric, making the film's early romantic scenes convincingly enchanting before the tone shifts to dread. Supporting roles, including those by Dominique Reymond and Romane Bohringer, add layers to the narrative, particularly in scenes that highlight Blanche's relationships with her family and friends, who become unwitting pawns in Gregoire's manipulative games.

Visually, "Just the Two of Us" is a feast for the eyes, thanks to Donzelli's collaboration with cinematographer Laurent Tangy. The film employs a rich color palette, with warm hues dominating the initial courtship sequences, gradually giving way to cooler, more oppressive tones as the abuse intensifies. Donzelli's directorial flair shines in innovative sequences, such as a dreamlike montage where Blanche imagines alternate realities free from her husband's influence. These artistic choices not only heighten the emotional stakes but also underscore the film's themes of entrapment and escape. The soundtrack, composed by Gabriel Yared, complements this with haunting melodies that build suspense without overwhelming the dialogue-driven plot.

The film's inclusion in Venice's competition lineup places it alongside heavyweight contenders from around the globe, including works by directors like Sofia Coppola and Yorgos Lanthimos. Donzelli's entry stands out for its timely relevance, arriving at a moment when discussions about domestic violence and women's rights are at the forefront of global conversations. Critics at the festival have lauded its balance of thriller elements with profound social commentary. One reviewer noted, "Donzelli doesn't just tell a story; she immerses you in the terror of a love gone wrong, making 'Just the Two of Us' a must-see for its emotional depth and narrative ingenuity."

Beyond the thriller aspects, Donzelli infuses the film with her characteristic humor, a trait that has defined her previous works. Moments of levity, such as Blanche's wry observations during therapy sessions or ironic twists in her escape attempts, provide brief respites from the tension, reminding audiences of the resilience of the human spirit. This blend of dark and light is what sets Donzelli apart in the French New Wave-inspired tradition, echoing filmmakers like François Truffaut while carving her own path.

The adaptation process itself was a labor of love for Donzelli, who co-wrote the screenplay with Audrey Diwan. They remained faithful to Reinhardt's novel while making bold changes to enhance cinematic impact, such as expanding Blanche's inner monologue through voiceover and visual metaphors. Donzelli has emphasized the importance of authenticity in depicting abuse, consulting with survivors and experts to ensure the film's portrayal was respectful and accurate. "We wanted to show that abuse isn't always obvious; it creeps in like a shadow," she explained.

As the Venice Film Festival progresses, "Just the Two of Us" is generating buzz for potential awards, particularly in acting categories for Efira and Poupaud. Its universal themes resonate beyond French borders, making it a strong candidate for international distribution. Donzelli's film serves as a stark reminder of the hidden struggles many face in relationships, urging viewers to recognize the signs of toxicity and the courage it takes to break free.

Looking back at Donzelli's career, this film feels like a natural progression. Her debut "Declaration of War" (2011) was a semi-autobiographical tale of parents battling their child's illness, blending tragedy with hope. "Marguerite & Julien" (2015) tackled taboo love with stylistic flair. Now, with "Just the Two of Us," she confronts societal taboos head-on, using cinema as a mirror to reflect uncomfortable truths. The film's structure, alternating between past and present, keeps audiences on edge, much like the unpredictability of an abusive dynamic.

Critics have drawn comparisons to films like "Gone Girl" for its psychological intrigue, but Donzelli's version is more introspective, focusing on the victim's journey rather than plot twists for their own sake. The ending, without spoiling it, offers a cathartic release, emphasizing empowerment and renewal. In Venice, where the Lido's beaches contrast with the intensity of the screenings, Donzelli's film has sparked conversations about gender dynamics and mental health, proving that art can be both entertaining and enlightening.

For Donzelli, this project represents a milestone. At 50, she's not just a director but a voice for women in cinema, challenging norms and pushing boundaries. "Just the Two of Us" isn't merely a film; it's a statement, a call to action wrapped in compelling storytelling. As the festival jury deliberates, one thing is clear: Valerie Donzelli has delivered a work that will linger in the minds of viewers long after the credits roll, prompting reflection on the complexities of love and the strength required to reclaim one's life.

In the broader context of contemporary French cinema, Donzelli's film aligns with a wave of female-directed stories that dissect relationships with unflinching honesty. Directors like Celine Sciamma and Alice Winocour have paved the way, but Donzelli adds her unique blend of intimacy and audacity. The film's production, shot primarily in Normandy and Paris, captures the stark beauty of these locations, using them to symbolize Blanche's internal turmoil—vast beaches representing fleeting freedom, urban confines mirroring her entrapment.

Audience reactions at the premiere were palpable, with applause breaking out during key moments of Blanche's defiance. Donzelli, ever the engaging presence, fielded questions about the film's feminist undertones, affirming that while it's rooted in a woman's experience, its message is universal. "Men can be victims too, and society needs to address abuse in all forms," she noted.

As "Just the Two of Us" vies for the Golden Lion, it stands as a testament to Donzelli's growth as a filmmaker. From her early acting roles to helming acclaimed features, her journey reflects perseverance. This film, with its emotional depth and stylistic prowess, could well be her magnum opus, cementing her place among France's cinematic elite. Whether it wins awards or not, its impact on festival-goers and future audiences is undeniable, offering a poignant exploration of love's darker side and the light that emerges from breaking free.

Read the Full Variety Article at:
[ https://www.yahoo.com/entertainment/articles/valerie-donzelli-venice-competition-film-142614840.html ]