Director Charline Bourgeois-Tacquet's debut film, 'Anaïs in Love,' is a French comedy about the swirling romantic pursuits of a vivacious millennial.
We meet freckled, flower-print-favoring grad student Anaïs in a whirlwind of chatter and chase as she charms the landlord to whom she owes rent with a running stream of commentary about her love life , academic stress and job situation before hurrying off on her bike to a party. There she flirts with Daniel , an older, married book publisher who she decides is interesting enough for an affair in the wake of her boredom with Raoul .
Anaïs isn’t always in earth-churning gear, however — there are vulnerabilities and protective mechanisms. A seaside visit with her adoring but ailing mother reveals a concerned daughter fearful for the time her mom won’t be around.
As the action moves to an out-of-town symposium — where the atmosphere can be affected by a discussion of Marguerite Duras, a hidden room of antique erotica, or the Kim Carnes classic “Bette Davis Eyes” at an evening soiree — Bourgeois-Tacquet proves to be a literate, witty farceur. She can fold well-turned emotional truths into the filmic pleasures of a comically uncomfortable situation or sexually charged moment without breaking her rhythm.
While Anaïs is a charismatic energy source, and Demoustier’s fizzy, swirling portrayal as wonderfully in the moment as it can be, the filmmaker’s astute treatment of Emilie — the beguiled target who knows how to re-shift the molecules in the air — is what ultimately, intelligently crystallizes the themes of seduction, pleasure and what’s too often untapped about female power.
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