Benedetta star Virginie Efira plays a woman leading a double life in drama Madeleine Collins which premiered in the Venice Days section of the Venice Film Festival today. Also doubling up in Venice…
Efira’s translator is a sophisticated, busy working woman whose job is the perfect cover for her many trips away from home. But where’s home? Is it in Switzerland in a flat with Abdel and her young daughter? Or is it in a glamorous place in France, with Melvil and their two adolescent sons? The fact that she’s known as ‘Judith’ in the latter and ‘Margot’ in the former increases the intrigue.’ early power is in its mysteries, and piecing the puzzle together keeps you engaged.
Barraud’s screenplay touches on themes including parenthood, class, privilege and gender. After all, it’s much more common — and perhaps practically and culturally possible — for men to have two families in different places, rather than women. By showing a mother who darts between two families, one a secret from the other, Barraud invites the audience to challenge their preconceptions about motherhood and independence.
An unusual scene takes the tone, briefly, in a different direction. Judith/Margot goes to meet the forger who has been making her fake IDs, and he professes an attraction to her, demanding that she look at him, even if he can never aspire to her level. The scene has a mannered, mystical quality that’s at odds with the rest of the film, and it also seems faintly patronizing on a class level.
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