"Coup de Chance" is an ordinary Woody Allen movie, save for one horrifying last element.
Coup de Chance stars Niels Schneider and Lou de Laâge.
In bygone days, the release of a new Woody Allen film might have been considered an unremarkable occurrence. However, the landscape has shifted significantly, particularly in the past decade, with heightened scrutiny surrounding allegations of sexual abuse leveled against Allen by his adopted daughter, Dylan Farrow, when she was 7 years old — allegations consistently refuted by the director. Amazon Studios, previously involved in distributing Allen's works, severed ties with him in 2018. His two latest films, the poorly received A Rainy Day in New York and Rifkin's Festival, scarcely saw theatrical releases in the United States.
Hence, it was rather unexpected when reports surfaced weeks ago announcing the impending release of Woody Allen's latest film, the romantic drama-thriller Coup de Chance, in American theaters. This decision likely stems from the movie's favorable reception last autumn at the Venice International Film Festival, where multiple critics hailed it as Allen's finest work in years.
Admittedly, the praise may seem tempered considering the relative weakness of Woody Allen's output since Blue Jasmine over a decade ago. Nevertheless, Coup de Chance exudes a sense of assurance and vitality that has been absent from the director's recent work. This rejuvenation can be attributed in part to the change of scenery, as Allen's challenges in securing American talent and financing have led him to the more receptive environment of Europe. While he has set films in France previously, this marks his first venture into shooting entirely in French with French actors. While born out of necessity, this creative shift imbues an air of freshness to an otherwise familiar Allen narrative, replete with themes of guilt, suspicion, and inconvenient desire.
The narrative unfolds with a chance encounter on the streets of Paris. Fanny, portrayed by Lou de Laâge, works at a nearby auction house, while Alain, played by Niels Schneider, is a writer. Even without the overt name association, it becomes apparent that Alain serves as the Allen-esque character within this tale.
This marks the first reunion of Fanny and Alain since their high school days in New York, a time during which Alain admits to harboring a deep infatuation for Fanny. Despite the passage of years, there is an instant connection between them. However, fate intervenes as Fanny is now wedded to a prosperous businessman, Jean, portrayed by Melvil Poupaud.
Yet, the allure proves too strong to resist, and soon Fanny and Alain find themselves embroiled in a clandestine affair. They steal moments away, indulging in extended lunch breaks at Alain's cozy apartment, which holds a charm for Fanny that surpasses the grandeur of her spacious Parisian abode shared with Jean. Additionally, they possess a picturesque countryside retreat where Fanny and Jean routinely escape for idyllic weekend excursions.
Jean often extends invitations to friends for hunting excursions in the woods, setting a foreboding tone for the inevitable descent into violence within this romantic triangle. Familiar echoes from films like Crimes and Misdemeanors and Match Point resound throughout Coup de Chance: an illicit affair, a calculated murder plot, and a somber contemplation of luck's role in human destiny. Jean's disbelief in luck mirrors the existential nihilism recurrent in Woody Allen's oeuvre.
Predictability permeates Coup de Chance. It unfolds as a proficiently crafted iteration of Allen's recurrent themes, embellished by Vittorio Storaro's stylish albeit excessively polished cinematography. As anticipated, jazz melodies and verbose dialogues punctuate the narrative, although somewhat softened by the French language delivery. The cast delivers sharp, committed performances, notably Valérie Lemercier as Fanny's discerning mother, who harbors suspicions regarding Jean's integrity.
Amidst the unfolding drama, a troubling detail emerges. Several scenes depict Jean engrossed in playing with a substantial model train set, evoking parallels to a significant detail in Dylan Farrow's testimony. This intentional reference raises questions about Allen's motivations — is it a provocative gesture towards his critics, signaling a potential departure from filmmaking as hinted in interviews? Or is it a reflection of Allen's enduring focus on self-examination, despite the controversies surrounding him?
Ultimately, regardless of Allen's intentions, one undeniable truth persists: throughout his cinematic journey, his most enduring protagonist and subject have always been reflections of himself.
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