The First Day of the Rest of Your Life (Le premier jour du reste de ta vie)
Jacques Gamblin, Zabou Breitman, Déborah François, Marc-André Grondin, Pio Marmaï
The French sleeper hit of last year: a funny, insightful and moving portrait of family life.
“Today is the first day of the rest of your life? Well, that’s true of every day but one – the day you die." These fatalistic words spoken by Kevin Spacey’s Lester Burnham in American Beauty were the inspiration for the title of writer and director Rémi Bezançon’s second feature. Zooming in on five key days that have shaped each member of the Duval family’s life, Bezançon provides a bittersweet portrait of their dysfunctional relationship – and how one day has affected their emotional trajectories, both individually and in the context of the family ensemble. Beginning in 1988, on the day eldest son Albert leaves home, the film spans 12 years, touching on four other significant dates across the 1990s – and ending momentously in the year 2000. Each day is led by a certain member of the family, presented subjectively to portray the thoughts and feelings of this one character amid the chaos of their family life. Where wide angles accentuate pragmatic doctor Albert’s distance, his grungy adolescent sister Fleur is closely-lensed and enclosed in her world of inner turmoil. Slow-motion and flashbacks personify their idle dreamer brother Raphael, and long lenses create intimacy and closeness around their mother, establishing her as the nerve centre of the household. Calm, soft colours and stillness emanate from the portrait of the father’s day to sensitively denote his passive, mellow nature. Bound together by an era-defining soundtrack and intelligent editing, this is a sharp and moving homage to family life and the memories it creates and harbours. The alternative late-80s and 90s soundtrack layers the nostalgia, providing a shrewd complement to the Duvals' unconventional relationships with one another. In a similarly evocative fashion, editor Sophie Reine compresses time and buoys the viewer through each significant moment in the same way one might wistfully flick through a photo album. Using a kaleidoscopic multi-character approach, Bezançon uniquely demonstrates how the family unit shapes us as individuals and, in doing so, he provides a refreshing view of issues such as growing up, loss of virginity, parenthood, infidelity and bereavement. In studying the unique responses of each family member to discrete moments in their collective and personal histories, The First Day of the Rest of Your Life delivers a highly entertaining, perceptive and energetic portrait of how just one single day can irrevocably alter the course of one's life.
2009 Archive
Festival Diary: June
Find Films By Strand
EIFF is split into Strands. Use them to help find your films.
Event Search
Suggest-o-tron
Use this fun gadget to help you navigate the Festival programme and find your festival feet.
Start Suggest-o-tron
Comments
Login or Register to post / report comments
#1 Amy Shields / Monday 22 June, 2009 / 13:57 GMT
#2 Moray Nairn / Tuesday 23 June, 2009 / 00:38 GMT
That Bezancon's movie hardly introduces more than the featured five principal cast is testimony to the tightness of the script. Despite spanning the childhood /early adulthood of the younger cast, the action focuses unwaveringly on the fortunes of the protagonists and is never distracted by supporting characters.
Like all families, humour and tragedy are two sides of the same coin and neither are far away. The movie has moments of farce that wouldn't seem out of place in a Richard Curtis Rom-Com, but just when you expect Hugh Grant to appear, there will be a twang of undeniably Gallic style reminding us that this movie could only be made in France.
The sheer passion of the familial relationships - feelings running high to both extremes but never settling for dull indolence- is something that feels uniquely continental and it's hard to imagine a family from Cleethorpes (or Forfar, for that matter) having the same energy or brooding vitality. Even as a 16 year old, Deborah Francois teems with a barely repressed desire to engage with the world and all that it entails. It is fitting that her character should provide a conduit from the bump seen in her mother's belly in the opening credits, through her own personal and sexual awakening to the next generation and continuation of the heritage.
The film succeeds in moving the viewer equally to tears of joy and sorrow but still finds time to make subtle points about the nature of the family bond, the nobility of sacrifice and notably that sometimes what is felt most deeply cannot be expressed in mere words but is added to the tapestry of a lifetime's experience and may only ever be revealed through the fickle finger of fate.
#3 Mike Hall / Wednesday 24 June, 2009 / 08:29 GMT