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간단하게 설명할 수 없는 한 여자 이야기. 호텔 룸 서비스 웨이트리스로서의 새 직업을 가진 첫 날, 똑똑하고 분명한 르도엔의 실생활이 그려진다. 프랑스 누벨 바그의 안나 까리나를 연상시키는 19살 소녀는 신선함과 자발성을 지니고 있다.
<싱글 걸>은 매력적인 보석같은 영화다. 일상생활의 단순함 바탕에는 복합적인 인물의 심리가 깔려 있다. 감독의 인물탐구는 카메라를 그녀에게 정면으로 들이대고 사소한 것까지 끄집어낸다. 실제 시간으로 그려지는 이 영화는 그녀의 아름다움 뿐만 아니라, 독립성에서 불순함에 이르기까지 관객 앞에 드러낸다. 브누아 자끄는 작년 부산영화제에 <육체의 학교>를 출품해 우리에게 알려진 감독이다.
미국 영화의 데미 무어나 멕 라이언 같은 페미니스트 히로인과 나란히 발레리(버지니 르도엔)가 있다. 브노아 자끄의 멋진 프랑스 영화 <싱글 걸>은 삶의 단편의 카탈로그다. 그녀는 젊과 예쁘다. 하지만, 그러면서도 그녀는 이기적이고, 제멋대로이고, 책임지지 않으려고 하며, 때로는 잔혹하다. 물론, 미혼모가 된다는 것은 성자가 되는 것 만큼이나 힘들다. 실직한 남자친구와 말다툼할 때, 어머니가 아이처럼 새남자와 행복해할 때, 1년만에 찾은 새 직장이 권력체계와 이상한 섹슈얼한 협박으로 가득차있다는 걸 알았을 때, 그녀는 남자친구에 기대어 운다. 그리고 말한다. 헤어지자고. 사랑은 영원할 수 있을까? 아니. 그렇다면 미리 헤어지자.
발레리 역을 맡은 버지니 르도엔은 드러내기를 좋아하고, 긴장과 능숙함 사이에 서 있는 젊은 연기자다. 카메라가 사랑하는 얼굴형을 가진 그녀는 매순간 영화에 편안함과 확신을 심어준다.
- Dave Kehr
Rarely has any film so accurately and effectively captured the essence of a human being -- the look, the feel, the mannerisms, the vocal inflections. Benoit Jacquot's A Single Girl isn't a typical motion picture in any sense. Narrative is curtailed in favor of pure character development, and the result is akin to suspending your own life for ninety minutes and spending that time living in someone else's skin. It's extremely unusual for a director, actress, and writer to bring an audience into such a close rapport with a character. A Single Girl shows us seventy-five ordinary minutes in the life of Valerie (Virginie Ledoyen), a young woman who's beginning a new job as a room service waitress at a Paris hotel. She's four weeks pregnant, and has just informed her boyfriend, Remi (Benoit Magimel). Her life is at a watershed: does she continue in a strained relationship with him that may lead to discord and abandonment, or does she make a clean break now and attempt to raise the baby on her own? This is the question that preys upon her mind as she gets to know her co-workers and experiences the ups and downs of the morning room service rush. Not once in seventy-five minutes does Jacquot's film transition away from Valerie or jump forward in time. It is strictly chronological, presenting a minute in real time as a minute in screen action. The camera follows Valerie's every move, no matter how mundane. She's shown walking down streets and through the halls of the hotel, riding elevators, and stealing a moment for a quick smoke. She's not just in every scene, she's in practically every frame. Yet, even though the voyeuristic perspective of the camera allows us intimate access to Valerie's thoughts and actions, it is not invasive, nor is it interested in exploitation. For example, during a scene when she changes her clothes in a locker room, the camera cuts to her face, passing up the opportunity to peer at her topless body. This scene clearly indicates what the director's motives are (and aren't) in telling this particular story in this manner. The quiet, intense realism of Virginie Ledoyen's (the daughter in La Ceremonie) performance is one of the paramount reasons for A Single Girl's unqualified success. Not only does Ledoyen have a pleasant countenance for the camera to dote upon longingly, but she's a shrewd actress who understands the importance of details in making the character real. There are numerous occasions when we understand Valerie's mindset and intentions as a result of some subtle action: a gesture, an expression, or a mannerism. Yes, Ledoyen is beautiful, but it's her aptitude, not her comeliness, that draws us in. A Single Girl concludes with a fifteen minute epilogue that takes place some three years after the bulk of the film. It's a nice addition that offers a sense of closure to the story and answers many of the questions that couldn't have been resolved had Jacquot decided to restrict the entire movie to one time-frame. The Valerie we meet in this future segment is a more mature, secure woman, but much of the same tempestuousness and obstinacy are still evident. It's a credit to everyone involved that the growth and change of several years can be conveyed in such a relatively short sequence. When a character study fails, it is, more often than not, because the audience never really connects with the film's protagonist. This is a flaw that never plagues A Single Girl, because Jacquot bends all of his film making talents to forging a deep link. As a result, even though nothing much happens during the course of the movie (Valerie spends over half the running time wandering around the inside of a hotel), this is a thoroughly engrossing motion picture. This is one single girl I wouldn't mind spending more time with.
A Single Girl (La Fille Seule) stars Virginie Ledoyen as Valerie, a young Parisian woman starting her first day as a room service attendant at an elegant hotel. She meets with her unemployed boyfriend Remi (Benoit Magimel) before going to work to inform him that she is pregnant, though she's not sure what she wants his reaction to be. She talks to her mother on the phone several times during the course of the morning, but has a hard time engaging in a real conversation with her. Valerie's first morning on the job and her encounters with new co-workers and hotel guests (pleasant and otherwise) lead her to make some important decisions about her life. The film ends with a look at the positive and negative results of her choices two years down the road.
The film is paced (though not shot) in "real time," with long sequences devoted to mundane activities?Valerie walks from one place to another, prepares continental breakfasts, rides in elevators, and otherwise goes about her morning. Director and co-screenwriter Benoit Jacquot invests a lot of footage in these insignificant events because they're more important in the aggregate than they seem at first glance. Valerie makes some critical choices during the brief period chronicled in this film, but they don't emerge as dramatic, full-blown revelations?rather, her observations, brief small-talk conversations and impressions of people's personalities and experiences all contribute to her ultimate decision. Jacquot's point seems to be that life never really stops for the "big events," but weaves itself around them?we're influenced consciously and subconsciously by everything that happens to us. A Single Girl explores this idea with a leisurely fascination, abandoning flashy cinematic pacing and structure to build a cohesive narrative out of sequential bits and pieces. The film's emotional impact creeps up on the viewer almost imperceptibly, but the whole is much greater than the apparent sum of its parts.
Fine performances from Jacquot's cast help make A Single Girl convincing and affecting. Ledoyen plays Valerie as sweet, attractive and a bit immature, yet strong and independent; the supporting actors deliver naturalistic performances, full of pauses, false starts and other artifacts of real human interaction. The film has a pseudo-documentary feel about it, lit simply and unobtrusively, with no musical score but near-constant background sounds, and all of the production elements support the movie's style and goals effectively. In some of the outdoor street scenes, curious bystanders can be seen looking directly at the camera, but the film is otherwise technically sound and emotionally satisfying. Casual viewers should be aware that the film is in French with English subtitles, and while this unrated film is generally tame, it contains one graphic sexual moment that means to be shocking and succeeds.
젊고 예쁜 프랑스 파리의 소녀 발레리의 생활을 리얼타임으로 쫓아간다. 그녀는 오늘이 호텔 룸 서비스 종업원으로서의 첫 날이다. 그녀는 직업이 없는 남자친구 레미를 만나 자신이 임신했다는 사실을 밝힌다. 하지만 남자와의 대화는 말다툼의 연속이다. 발레리의 첫 날, 우연히 만나게 된 사람들, 직장 동료들과 호텔 손님들은 그녀의 인생에 있어 중요한 결정을 하도록 만드는데...
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