In “The Silver Venus”, the singer Pomme plays an intense class defector

In “The Silver Venus”, the singer Pomme plays an intense class defector


A film, and the singer Pomme, whose real name is Claire Pommet, falls from the tree to become an actress. Her entry is shattering, as if by break-in, in a sequence that the director of The Silver Venus , Héléna Klotz, wanted to be symbolic. In Paris, a biker’s silhouette walks towards a clothing store, breaks the window, grabs a man’s suit, and puts it on immediately as the alarm sounds. Rush off on the two-wheeler.

Traveling through beautiful neighborhoods, Jeanne Francoeur drives a little further to reach her suburban building, close to a barracks. His father (Grégoire Colin) is a police officer, like her ex, Augustin (Niels Schneider), with whom she reconnects. His chest is bleeding, a shard of glass having entered the heart side during the flight. Jeanne wants to work in finance, because it is obvious, she excels in this field: “I am neutral, like figures,” she will say.

Héléna Klotz, born in 1979, whose previous feature film, The Atomic Age (2012), won the Jean Vigo prize, abandons adolescent wandering for that of entry into the world of work. In the filmmaker’s world, there are few explanations. The body speaks, contemporary coldness is responsible for describing scenes of losers and winners, as if things were self-evident. Only a good splash could break the mold, we are told implicitly.

Far from social cinema, with its militant characters, The Silver Venus revisits the genre of the class defector through this mutant character, who never declares victory and feels ready to observe the fall (in love, in work) like a given in itself, potentially inevitable. This lucidity sets up a high tension, preventing this polished film from being watched on glossy paper.

In the mood of time

Jeanne meets a trader (Sofiane Zermani) revered in the industry. He seems to have affection for her. He drives a Rolls, has a lot of money, and wants to test Jeanne’s abilities to bring him a little more. To do this, the young woman, as beautiful as an angel, must approach a client who is as attractive as she is fierce (Anna Mouglalis, setting the fever in a few words).

On the love side, the ice could melt. The intensity of the feelings between Jeanne and Augustin can be guessed in a nocturnal shot, two silhouettes stuck on the scooter. But the story had started badly, in the past, without us really knowing why this “first time” was traumatic for Jeanne. This information, which allows the couple to relaunch themselves on new bases, echoes the spirit of the times, obviously.

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