Written on July 13th, 2024.
One of my top 15 films of 2023 is this French drama that won the Prix SACD in the Critics' Week selection at the Cannes Film Festival, and also received two nominations at the César Awards. Yet the film is little known.
SYNOPSIS: Lydia, a dedicated midwife, is in the middle of a breakup. At the time, her best friend Salomé tells her she is pregnant. One day, she comes across Milo – a one-night stand – as she is carrying her friend’s baby in her arms.
IMDb user aturrettini: "Telling with finesse and emotion the torments of a midwife with a complicated love life and one passionate friendship as she gets trapped in her own lies to try and create a new hope and warmth in her lonely life."
This is a film with a protagonist who is utterly unique. The things she does are terrible but she isn't inherently a bad person, and you certainly don’t hate her. It reminds me of Travis Bickle in Taxi Driver, and I reckon it was actually an influence. The character Milo in this film is an insomniac bus driver, while near the start the protagonist Lydia spends her nights aimlessly if she's not taking the late shift at her job, while feeling numb after her partner cheats on her. Another film that came to mind is Dear Evan Hansen, with a similar plot.
The Rapture follows Lydia, a woman who gets cheated on by her partner, then turned down by a man (Milo) after a one-night stand, all while her best friend (Salome) is blessed with a pregnancy. She also has a defence mechanism and refuses to be vulnerable in front of others, passing off her partner’s cheating as something that doesn’t bother her, telling Salome she was fine although she was absolutely wrecked, and eagerly looking for Milo again only to be rejected, then lying that she just wanted to be friends anyway.
Internally, I see a part of her wanting to hurt Milo who turned her down, while genuinely charmed by him and wanting something for herself, as her life doesn't have much to be enjoyed. When she sees him again, she lies that the baby is theirs, as it slowly spirals into faking a paternity test, meeting his family, and even abducting the baby. Yet it barely feels like a thriller but rather an intelligent character study that humanises our flaws, where every scene has a purpose and the protagonist is subtly yet intricately written.
Lydia was the one who helped Salome deliver her baby when her childbirth was looking dire. It was a critical situation and Lydia feels responsible for the baby's life. Even the name she suggests to Salome, Esmee, was accepted and given to the child. In one authentic scene, Salome struggles with sadness and not feeling great about herself, implying postpartum depression, while Lydia legitimately helps her by taking care of Esmee's needs. Near the end of the film, after Lydia has taken Esmee on a trip to Normandy along with Milo, she finally stops and tells Lydia where she is. When Salome and the police arrive, Lydia continues to hold Esmee, knowing this would be the last time she could go near her.
After spending time in prison and losing her job, the film doesn't end with Lydia in despair. That would be a disservice to the character who has been struggling internally throughout the film. Instead she notices Milo from afar. He walks up to her but doesn't appear angry or frustrated. Rather, his narration and the choice of music seems peaceful and understanding. They might not get back together, but at least she won't be all alone.
This is a film unafraid of what audiences might think. It's creatively written to express how one's struggles can drive them to their actions and choices. I only wish Lydia had later asked Milo why he had initially turned her down, as he actually doesn't have an existing partner or any personal issues to take care of. And for Salome, perhaps she and her husband could have done something slightly demeaning that might have triggered Lydia, such as leaving her out from their activities or teasing her about her failures. Salome really seems like a perfect friend, yet Lydia repeatedly takes her child to spend time with Milo.
In addition to the light, calm, and immersive score, the cinematography is unique with the contrast and saturation perpetually a touch higher than average, evoking the look of Yorgos Lanthimos' Poor Things (2023). Speaking of which, there are a couple shots framed like an objective voyeur was looking through a lens, a curious creative choice. Lydia is also commonly seen in the colour red, which makes her pop on screen and I do wonder what the costume designer's decision behind that is.
Overall, this is an inspiring film, a drama led by a character whose psychology is perfectly understood and extremely well written. This is the directorial debut of writer-director Iris Kaltenbäck, who will hopefully continue to succeed.
Trivia:
Shot in six weeks.