High-wattage star power doesn't keep One Fine Morning from feeling weary with its own bleakness. rockmarooned's NYFF60 review:
in favor of less elegant, more workmanlike melancholy, as Sandra and Clément figure out the logistics of their affair—a tedious Allen standby in so many of his later films. But—vive la France?—the sneaking around doesn’t last too long, though the situation’s messiness lingers anyway. Meanwhile, Georg moves from one temporary home to another, as his family packs up his old apartment and tries to find the right facility for him to spend his final years.
Hansen-Løve doesn’t force the connections between these two storylines, though of course they reflect each other. Georg’s condition forces Sandra to confront the unpleasant realities and regrets of aging , which feels like a tacit encouragement to cherish the excitement she feels over Clément—as well as a reminder that no amount of sexual heat will reverse the chilliness of our inevitable decline.
This kind of low-key yet pervasive moodiness, bordering on bleakness, needs all the star-level radiation it can get, and Seydoux luminates obligingly. Hansen-Løve doesn’t give her pages upon pages of dialogue to ruminate over her conflicts—some of that comes out in spats with Clément, and even there it’s reduced to more immediate, sometimes petulant disappointments—and Seydoux conveys plenty in her silence.
itself sometimes feels like it’s muddling through with Sandra’s same weariness, too faithfully reproducing the repetitions of real life. Amidst the over-many fraught texts and Clément’s hand-wringing over how to end his unhappy marriage, it’s hard not to miss the unforced loveliness of.
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