Venice brings Clémence Poésy's short to We Are One
What happens when we are confronted with the past?
2019 short by Clémence Poésy tells a story of a tragic end to a dysfunctional love affair, as two women unexpectedly find themselves in each other’s company after four years and their meeting leads to a somewhat suspected finale in The Tear’s Thing.
A young woman struggles to walk through the snow-covered grounds, snow squeaking under her feet, in the first scene of this drama. As the camera stops on her overwhelmed expression, it becomes clear that she is focusing on someone ahead of her.
Jumping to a different timeline, we learn that the woman known as Florence Parady is an actress. Preparing for a new role, Florence comes to a warehouse in the middle of nowhere to learn how to use a gun and - what comes as a surprise to them both - her instructor turns out to be a former girlfriend, Sacha. While Florence becomes openly upset at seeing her, since Sacha left without a word one night, we get a clear sense that the actress' former partner does not believe her disappearance should've come as a surprise.
India Hair - Camille Rewinds (2012), High Society (2014) – is Parady, a more openly fragile woman of the two, whose blonde hair and bright blue coat perfectly contradict functionally dressed with hair tied in a tight bun Sacha, played by Sabine Timoteo – The Chronicles of Melanie (2016), Sicilian Ghost Story (2017). Timoteo's character appears to be more composed (partially) due to her military background, but there is a sense of deeper emotional baggage dwelling somewhere inside. As the film goes on, the two actresses hold their own in each scene, but it is difficult not to consider Timoteo a stronger presence in every frame she appears, perhaps because of the quiet storm that she enhabits in the role.
Known foremost as an actress, this is Clemence Poésy's third directorial credit and a nicely paced 24-minute personal drama. Yet, as the end approached, a realization sneaked up that an emotional connection to the story was missing. The subtle choices may work for many and it is a film worth appreciating for the sum of its parts, but a more instinctive reaction to the resolution would've made the film memorable for this particular viewer. Still, as well as her second short, King of the Wind Demons (2018), this is another well-crafted look at two troubled women whose encounter will end up changing everything.
