Bonjour Tristesse Review: The Remake Takes a Different Approach Compared to Otto Preminger’s Classic.

      Note: This review was initially published as part of our coverage of TIFF 2024. Bonjour Tristesse will be released in theaters on May 2.

      There was a hint of apprehension going into Bonjour Tristesse. It presents itself as an "adaptation" of Françoise Sagan’s work instead of being a remake of Otto Preminger’s acclaimed film, leading to some doubt about the audacity required to believe one could surpass such a distinguished craftsman at his peak. Directed by writer-turned-filmmaker Durga Chew-Bose with a notable level of formal confidence (this is far from a work like Maximum Overdrive that comes from a career switch), this 2024 version is a commendable effort that will resonate with many viewers who might not have connected with the original. A significant distinction is that Preminger used the film as a platform for his muse, Jean Seberg, infusing a somewhat male gaze into the entire project. In contrast, Chew-Bose’s rendition leans more towards the feminine rather than explicitly feminist, exploring a kind of neurosis that doesn’t deliver straightforward resolutions.

      For those unfamiliar with the narrative, our “heroine” is the teenage Cecile (Lily McInerny), who enjoys a languid, opulent summer at her widower father Raymond’s (Claes Bang) estate in France. She is romantically involved with a charming yet superficial young man (Aliocha Schneider), while her father spends time with a young dancer (Nailia Harzoune). Their sunlit days filled with fine food and conversation seem endless. A twist comes with the arrival of Anne (Chloë Sevigny), a family friend working in the fashion industry. Introduced with a bun hairstyle (the film pays homage to classic Hollywood with an evident nod to Vertigo), this perpetual It Girl embodies a movie-star presence in multiple ways, despite being credited only as “and.”

      Anne alters the existing dynamics in significant ways. Cecile and Anne bond because Anne treats Cecile as an equal, but competition for Raymond's affections is always simmering beneath the surface. Delving deeper, the subtext of Sevigny’s casting appears to evoke a sense of ’90s nostalgia. Although the film is set in contemporary times, aside from a few cellphone interactions, it feels as timeless as the original. Nevertheless, the downtown-90s cool influences contemporary trends so strongly (evident in Sevigny's recent appearance in a Charli XCX music video) that, with its character tensions, Bonjour Tristesse increasingly reflects a current generation's insecurities.

      Bonjour Tristesse adopts a dialogue-heavy and patient approach (which also includes some enviable lifestyle visuals), which places significant emphasis on female relationships, potentially alienating some viewers (several middle-aged male audience members walked out during the press screening). Chew-Bose’s direction is often quite tasteful, bordering on excessive; the numerous whispered conversations tip the film from gentle character study to a slight self-importance, revealing a palpable awareness of heightened sensitivity. However, despite its flaws, Bonjour Tristesse still proves itself: its brand of melancholy resonates distinctly compared to its classic predecessor.

      Bonjour Tristesse premiered at TIFF 2024.