Let the Sunshine In (available to rent on amazon and iTunes) is a star turn for Juliette Binoche, a thinly plotted wisp of a movie that works entirely because of Binoche’s performance as a middle-aged woman looking for something in her love life but unable to find it – perhaps because she doesn’t know what it is she wants. It’s a sort of cringe comedy for adults, full of awkward interactions in and out of the bedroom, punctuated by emotional scenes of Binoche lamenting her unhappiness and questioning the decisions she’s made, while she’s surrounded by some generally awful men.
Binoche plays Isabelle, an artist and single mother who, at the start of the movie, is experiencing but definitely not enjoying sex with a rather unattractive banker named Vincent, who quickly reveals himself to be something of a pig – and is also quite married and full of himself. Isabelle says she’s in love with him, although her actions would imply otherwise. Between watching Vincent treating a bartender like he’s something less than human and hearing Vincent say he will never leave his wife, Isabelle decides to break it off and venture out on her own, which leads to a couple of doomed affairs with brooding artist types and a lot of conversations about her misadventures and melancholy.
With the wrong actress as Isabelle, this would have been unwatchable; even though there are a few sex scenes and a few other big moments, the script is powered entirely by dialogue, nearly all of which involves the main character. Binoche delivers an Oscar-caliber performance here, owning the screen every time she’s on it, conveying a mix of strength and vulnerability, the understanding that she’s still attractive (can confirm) but the awareness that she’s aging and that her ‘window’ to find that perfect mate might be closing. The character is locked in a sort of arrested development when it comes to romance, thinking of love and sex as a young adult might, even though Isabelle is somewhere in middle age (never specified, although Binoche was 52 when this was filmed). She still dresses young, and that sex-for-love confusion dictates nearly all of her behavior with men, exacerbated by the fact that pretty much all of the men in this movie are terrible to her.
But is there a point to all of this? It’s not quite #CancelMen territory, although all the men in this movie who get more than a few minutes on screen are either out to get laid or to find someone to mother them (or, in at least one case, both). Isabelle herself has plenty of points in the film that could cause her to reevaluate her decisions in dating, yet she continues forward on the same path, so she just repeats her mistakes, right down to the decision to go to a clairvoyant (whom we see is a phony in one of the few scenes that doesn’t include Binoche). I’d watch Binoche work in almost any movie, and Isabelle is a suitably three-dimensional character, just one deserving of a more complex story.
(Random trivia: Director Claire Denis’ first film was called Chocolat, but it’s not the same film as the Oscar-nominated film of that name that starred Binoche and earned the latter a Best Supporting Actress nod.)