Mademoiselle de Joncquières (2018)

Directed by: Emmanuel Mouret | 109 minutes | drama, romance | Actors: Cécile de France, Edouard Baer, ​​Alice Isaaz, Natalia Dontcheva, Laure Calamy, Manon Kneusé, Arnaud Dupont, Juliette Laurent, Corinne Valancogne, Edith Proust, Gabrielle Atger, Jean-Michel Lahmi, Emilie Aubertot, Alban Casterman, Pierre Giraud, Antoine Delaroche, Franck Guérin, Charlotte Boillot, Chloé Boutron, Sébastien Laudenbach, Stéphane Roquet, Catherine Roberti, Iakovos Pappas

Despite all the warnings and her own caution, the attractive young widow (both financially and outwardly) Madame de la Pommeraye (Cécile de France) falls for the lingering charms of playboy Marquis des Arcis (Édouard Baer). After a pleasant romance, however, she has to admit that her friend Lucienne was right: the love between her and the Marquis is extinguished and she is left with nothing but a broken heart. And feelings of revenge, it turns out later. In ‘Mademoiselle de Joncquières’, a black comedy drama by Emmanuel Mouret overflowing with beautiful dialogues and beautiful costumes, it is just a matter of waiting for who exactly will get the lid on the nose.

France, eighteenth century. There is no shortage of money for the main characters, but not for the unfortunate Madame and Mademoiselle de Joncquières (Natalia Dontcheva and Alice Isaaz respectively). Madame – a child out of wedlock herself – has had the misfortune of meeting a dishonest man who only wanted a marriage of convenience. A few months and a pregnancy later and she – with daughter now – is on the street. In such situations there is nothing left but to seek refuge in a brothel, where both she and her fifteen-year-old daughter attract enough customers. Madame de la Pommeraye comes into contact with these two ladies through the media, who, despite their unfortunate living conditions, have not lost any of their beauty. She devises a plan to outsmart her ex-lover.

There is a subtle undertone to the story, which shows that lies and deceit never have the desired result. That already starts with the conversations between Madame de la Pommeraye and her friend Lucienne. The truth is constantly being turned around, while it is clear from the start that it will come to light after all. But all under the guise of compassion for the other. The way in which Madame de la Pommeraye surreptitiously lets her lover confess that their relationship has bled to death is fantastic, thanks to the unspoken words and withheld reproaches.

Mademoiselle de la Pommeraye may have started her revenge campaign in her own words to do justice to all women, but this interesting, even feminist, angle does not really get a sequel. The main moral of the story is that truth is the most important factor in the success of a relationship and, as it has often been said, lasts the longest.

‘Mademoiselle de Joncquières’ is based on Denis Diderot’s Jacques le fataliste (1796), which was also adapted for the silver screen by Robert Bresson (‘Les dames du Bois du Boulogne’, 1945). The film looks to be passable, the interiors and costumes are very beautiful. The actors visibly enjoy their sharp dialogues and are very convincing. Although the story may drag on a bit in the middle part, this French costume film is a feast for the eyes and the ear, especially if you like the harpsichord.