Fantaisie review – study of a modern Ophelia swamped by audiovisual overwhelm

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Isabel Pagliai’s film introduces her central character Louise with a thrillingly eclectic blend of handheld footage and cascades of still images Reminiscent of a dark fairytale, Isabel Pagliai’s feature debut conjures a multitude of thresholds, lingering somewhere between documentary and fiction, dream and reality. Louise, the young woman at the centre of this beguiling film, is a mirage of a character; introduced in fragments, we first hear her lilting lamentations against a darkened screen. This is followed by closeups of a yellow notebook, in which her fears and desires overflow on every page, as they are read out by a mysterious, unseen man. When Louise finally materialises on screen, her everyday existence unfurls over deceptively mundane episodes. Through these sequences, Pagliai builds a fascinating tension between the stillness of the compositions and Louise’s agitated psyche. She is often seen in darkness, her face lit by the glow of various screen devices that flicker with ...
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Streaming: Past Lives and the best immigrant stories on film

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One of the year’s best films, Celine Song’s Korean-American love story, now on streaming and DVD, continues cinema’s rich tradition of immigrant stories, from Chaplin to Persepolis

Awards season often tends to benefit the newer, shinier end-of-year releases that are freshest in voters’ memories, but Celine Song’s lovely, low-key Past Lives appears to be quietly staying the course. Having premiered way back in January, hit cinemas in the summer and since become available to stream – with the DVD out last week for physical media loyalists – it is now routinely popping up on best-of-2023 lists, and scooped best feature at the Gotham awards in the US. Something sticks in the mind and heart about Song’s melancholic, gentle but emotionally acute tale of a rekindled relationship between a Korean-American immigrant and the childhood friend she left behind in Seoul. Anyone whose life has been split across countries can relate to its study of the split identities and frayed possibilities of immigrant existence.

It’s those infinitely complex internal tensions – at once universally recognisable and particular to each individual – atop external fish-out-of-water challenges that make the immigrant experience such a rich and recurring film subject. As early as 1917, English émigré Charlie Chaplin distilled all those dynamics in his 22-minute short The Immigrant (Internet Archive), playing his signature Little Tramp character’s calamitous voyage to, and overwhelmed arrival in, New York for maximum comedy and pathos. Nearly 100 years later, American director James Gray took the same title for a rather more solemn look at a European ingenue seeking a new life in the Big Apple, meeting with ugly exploitation and poisoned ardour. Gray’s The Immigrant (2013) plays as symphonically grand tragedy, but retains that old romantic mythos around the US as a place to make or remake yourself.

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