Rodolphe Marconi ('Love Forbidden') is a director and writer to watch. He has a signature style already (he is quite young in the industry) and knows how to use that sensitivity to tell touching stories. LE DERNIER JOUR or THE LAST DAY is a mood piece, spare on dialogue, misty in its depiction of young emotional feelings, challenging in its play with time devices, and ultimately very satisfying for those who enjoy the French manner of film making.
Simon (the very handsome and gifted young actor Gaspard Ulliel of 'A Very Long Engagement') boards a train bound for the coast where he is to spend time in his family's seaside cabin. Most of his ride is spent gazing out the windows at the misty countryside, telling us more about this lonely, lost, vulnerable young eighteen year boy than a thousand words. On the train is a young girl Louise (Mélanie Laurent) who seems to be shadowing him. When Simon arrives home he is met by his loving mother Marie (Nicole Garcia), his sister Alice (Alysson Paradis) and his father. Louise joins Simon as a guest in his home and his family thinks the two are a couple. Though they sleep in the same bed, Simon's mind and longing are for a lad who lives in the lighthouse, Mathieu (Thibault Vinçon). Simon visits Mathieu, with Louise not far behind, and though we feel a kinship between the two boys, Louise forces her attention on Mathieu and Simon becomes a third party. In a telling moment when the three are in a pub Louise insists that Simon and Mathieu kiss, and that kiss tells a lot about the current state of mind of both boys. Simon becomes isolated, longs for Mathieu who has moved on from their past relationship, an emotional level which is culminated in a visit to Mathieu's home where Simon, alone on Mathieu's bed, re-visits the passion and lust and love for Mathieu in a scene of radiant beauty.
Simon's parents argue at all times and this leads to the discovery of a previous affair his mother had, an affair which holds secrets that drive a stake into Simon's relationship to Louise and to his mother's lover who as he visits the mother uncovers significant mysteries. The story ends tragically in a coda suggestive of the beginning of the film. It is stunning.
For some the sparse dialogue may prevent the storyline from driving clearly, but in the hands, eyes, and body of Gabriel Ulliel words are wholly unnecessary. If there were no other reason to see this very sensitive film, having the opportunity to observe the talented Ulliel would be sufficient. Recommended viewing, in French with English subtitles. Grady Harp
