Director Profile | Emmanuel Mouret: Focusing on Affairs and Infidelity

Recently, The highly acclaimed "Diary of a Fleeting Affair," which was praised at the 2022 Cannes Film Festival, has finally been released on streaming platforms. The film tells the story of middle-aged men and women having affairs, offering a fresh perspective on their lives and relationships.

Despite being a film about infidelity, it doesn't make people feel disgusted or uncomfortable. On the contrary, the characters and plot are very interesting, and the two female leads are particularly outstanding in their elegance and style.

In addition to "Diary of a Fleeting Affair," Emmanuel Mouret's other work "The Things We Say, the Things We Do" is also worth watching. It won the Best Film Award at the 26th French Lumières Awards, showcasing Mouret's status and influence in the French film industry.

Compared to "Diary of a Fleeting Affair," the actors in "The Things We Say, the Things We Do" are younger, telling a story about a couple in their early 30s having an affair.

From these two movies, it can be seen that Emmanuel Mouret enjoys exploring themes of affairs and infidelity. These themes are usually not accepted by traditional values, but he manages to make these stories interesting and captivating. This preference is similar to that of the Nouvelle Vague master Éric Rohmer.

Éric Rohmer's Successor

Éric Rohmer's film works often explore the depths of human emotions and desires. In films such as "The Green Ray" and "A Summer's Tale," he portrays people's pursuit of freedom and happiness, which are often limited by society and ethics. He presents these complex emotions and contradictions of human nature in a unique way, allowing the audience not only to feel the conflicts but also to reflect on the essence of society and humanity.

In the field of film creation, succession is a topic that is frequently discussed. Emmanuel Mouret, as a French director, is often compared to the Nouvelle Vague master Éric Rohmer, while Sang-su Hong and Ryûsuke Hamaguchi are also considered to be Rohmer's successors.

However, being seen as a successor is not necessarily a happy thing for any artist. Their creations have their own characteristics and styles, and they are more concerned with how to showcase their unique perspectives and styles. Therefore, we should pay more attention to the works themselves rather than comparing directors to others.

Although Emmanuel Mouret is compared to Éric Rohmer, he is still a director with a unique perspective and style. While the themes may have similarities, he has made significant changes in the way the stories are told, injecting modern elements into the Nouvelle Vague films, and making them humorous and no longer dull.

Combining Modern French Films with Nouvelle Vague Films

What is your impression of modern French films? Perhaps it's an enjoyable and lighthearted experience.

And what about Nouvelle Vague films? Maybe they have more dialogue and heavy themes, but they are also rich in substance.

Modern French films refer to French films since the 21st century, which are typically light, humorous, and entertaining works. Represented by directors such as Olivier Nakache, and Benjamin Guedj and their films such as "The Intouchables," "Little White Lies," and "The Stroller Strategy," these films not only attract audiences with their light plots but also present the characters' inner emotions through the depth of the storyline, allowing viewers to experience a deeper level of emotional communication in a lighthearted and enjoyable way.

Nouvelle Vague films, on the other hand, represent French films from the 1960s and 1970s. They are characterized by their dialogue and heavy themes, represented by directors such as François Truffaut, and Jean-Luc Godard, and their films such as "The 400 Blows" and "Breathless." These films had a significant impact on French cinema history with their strong experimental and anti-traditional attitude. Although these films may not be very audience-friendly, they are regarded as representative works of film art due to their depth of themes and unique expression.

In summary, modern French films and Nouvelle Vague films are two extremely representative film styles in French film history.

So, how does Emmanuel Mouret combine these two styles?

Emmanuel Mouret（Left）

Two elements that bring new changes

The first new element is the addition of a lot of humor and wit to the films, which makes art films no longer boring. In "Diary of a Fleeting Affair," there are many hilarious scenes.

(1) Simon and Charlotte's second date is in a public shabby locker room, discussing loudly how to deal with their respective spouses while changing clothes. A stranger walks in and awkwardly leaves after hearing their conversation.

(2) After Simon and Charlotte have sex in a hotel, Simon lay on the bed and talks about a childhood sex story of him. This is actually a metaphor, implying that Simon and Charlotte's situation is similar, and after the hotel revelry, they will eventually return to reality.

(3) Simon and Charlotte's affair becomes more and more daring, and they plan to go on a weekend road trip. They talks about "massage" in the car and got so excite that the car almost crashes. The camera did not capture Simon and Charlotte's expressions but instead filmed the vehicles on the road in the distance, allowing the audience to imagine what they are doing, which is very interesting.

This is also a metaphor, indicating that their relationship is rapidly heating up and becoming more dangerous.

The second new element is suspense. In "The Things We Say, The Things We Do," the director made bolder attempts by adding many suspenseful aspects to the love story. The story is actually told in the style of a suspense film.

At the beginning of the film, Daphne, three months pregnant, finds herself alone in the French countryside to welcome Maxime, her boyfriend Francois' cousin, as Francois has to leave for Paris to cover for a sick colleague. For four days, while waiting for his return, Daphne and Maxime get to know each other and share intimate stories that bring them closer.

As the film progresses, the audience discovers that Daphne, Francois, and Maxime each have their own story, but beneath the surface, they all have an undisclosed love affair. As the story develops, they all need to use lies to cover up their feelings, and the plot becomes increasingly complex. In the end, the three of them come together again. When the audience fully understands the relationships behind each character, they will find that their words and actions are inconsistent, making the story full of wit and humor.

“Inconsistent words and actions” is precisely the theme of "The Things We Say, The Things We Do."

The expressions and values

Humorous plotlines and storylines may be important in filmmaking, but what's even more important are the expressions and values that a movie conveys.

Emmanuel Mouret's films express a different perspective on love, which sets them apart from traditional romantic movies. He presents the real-life issues that people face in a humorous yet profound way, encouraging viewers to reflect on their lives as they enjoy the film.

In terms of expression, the two movies have a similar theme: the nature of love, whether it involves infidelity or extramarital affairs. However, the expression in "The Things We Say, The Things We Do" focuses on the inconsistency of human words and deeds and self-glorification in love, while "Diary of a Fleeting Affair" expresses the story of two people who initially sought sexual pleasure but ended up falling in love.

In terms of values, Emmanuel Mouret does not condemn infidelity or extramarital affairs in either movie, but he emphasizes the genuine emotions between people. This is especially evident in the ending of "Diary of a Fleeting Affair," where the two main characters reunite years later. Although they don't end up together, they both acknowledge their brief romance, which helps them grow into better individuals.

Emmanuel Mouret's movies may reject traditional moral and ethical values, but cherish the genuine emotions that exist between people. That's what he really wants to convey in his films.