Tag Archives: Mia Hansen-Løve

The 10 weirdest, most powerful arthouse movies of 2022

The 66th London Film Festival is in full swing this October, presenting over 160 new features and shorts, VR works and previews of prestige TV on the big screen – with a few films also available nationwide on streaming service BFI Player after the festival’s close.

There are plentiful red carpet ceremonies, career talks with legends and screaming Timothée Chalamet fans. But what of the films themselves? In alphabetical order, here are ten of the best features from this year’s LFF…

Full feature for i-D

Things to Come (Mia Hansen-Løve, 2016)

After a streak of films (Eden and Goodbye First Love) largely concerned with the notion of faded youth and lost loves, Things to Come sees French director Mia Hansen-Løve take a noticeable shift. Her protagonist is Nathalie (Huppert), a middle-aged philosophy teacher, who isn’t yearning for some better times in the past, but rather practically and calmly trying to assess where her life goes in the future, after the sudden departure of her husband of 25 years (Marcon), after he confesses to having an affair.

Elsewhere, Nathalie’s overbearing mother (Scob) seems to be approaching death’s door, while Nathalie’s perspectives on the world are consistently being questioned and reshaped by the unfettered ways of both her adult offspring and, in particular, a former pupil, Fabien (Kolinka, who had a major part in Eden), whom she’s reconnected with. Additionally causing a further upheaval to the status quo of her life is a loss of income from publisher shake-ups seeing her respected textbook being deemed out of vogue. Essentially, what we have here is evidence that no matter how well-adjusted you may think you are, the proverbial excrement is always bound to hit the fan at some point. And sometimes, you’ve just got to make something out of the lemons life gives you, even if it’s not lemonade…

Full review for VODzilla.co

Eden (Mia Hansen-Løve, 2014)

When calling Eden one of the more directionless portraits of a life and movement, one must clarify that this is not meant as a bad thing and that the lack of direction refers only to traditional expectations of narrative for what’s essentially a biopic of sorts. On its surface, Eden seems to be simply telling the rise and fall of one particular man in one particular music scene, in this case the French house or “French touch” scene that took off in the early 1990s. Director Mia Hansen-Løve is concerned less with a narrative of modest success followed by years of toiling away, and instead with the yearning for youth, to recapture something that seemed like it was only just there…

Full review for Vague Visages