“Loved? I don’t know. He liked me, and he was rich.”
The line, uttered early in Ira Sachs’s small, contemplative new movie “Frankie,” is a verbal shrug from Isabelle Huppert’s titular actress, and it encapsulates the mood the Memphis-born filmmaker is going for. His latest is stuffed with similar fleeting, retroactive observances of love and life, tinging the movie with an airy melancholy. Everything about “Frankie” is unassuming and humble; none of it is to be taken for granted.
The movie’s backdrop: an idyllic Portuguese town, the kind where history feels preserved in the amber of its picturesque landscapes. But just as important as the setting of Sachs’s script – which he co-wrote with frequent collaborator Mauricio Zacharias – is his extended ensemble filling it, a who’s-who varied in age, experience, race, sex. Huppert, Brendan Gleeson and Marisa Tomei are here. So are Greg Kinnear, Jérémie Renier, Sennia Nanua. Ariyon Bakare, Vinette Robinson and Pascal Greggory fill out the guest list. The reason they’re all here, the thing connecting their visit, slowly reveals itself with time, as do the occasional details of where they’re at in their lives; some of them are related; some work in the movie business; some have been thinking about their futures; others are in limbo. There are discussion of beginnings and beginnings of endings, as well as low-key tensions that barely threaten to even nudge Sachs’s light tone. The common thread is Huppert’s Frankie, an actress in the late stages of her career who prefers to live unassumingly, but who also doesn’t turn down the chance to attend a party when recognized by a fan. Continue reading →