Directed by François Ozon, 2017
Curzon Artificial Eye
François Ozon’s latest feature — about a depressed young woman embroiled in a love-triangle with identical twin psychoanalysts — serves as a kind of filmic Rorschach test. Some have interpreted it as an intelligent, entertainingly surreal examination of repressed sexuality, and the warring ego and id. For the rest of us the murky inkblot reveals a lurid piece of self-satisfied filmmaking that trades on pseudo-psychology and visual and narrative sleight of hand.
In essence L’amant double is an Elizabethan comedy — think mistaken identities, disguises and a caricaturist rivalry between one good and one nefarious brother — reimagined as a piece of art-house schlock.
Marine Vacht and Jérémie Renier do their best as the two or rather, three, leads, but clichés and heavy-handedness seep into every scene: from the repeated shots of characters in mirrors to the risible deus ex machina ending.
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