It is oddly fitting that I saw this film on the same day as Rear Window and Souvenir Part II- all three films being aware (to varying degrees) of how their formal construction directly interacts and reacts with their own narrative confines. Though I think in the end, Lea Seydoux's facial acrobatics won me over Jimmy Stewart's constant state of slight bemusement and confusion...
With France, more than the other two, I felt this constant transformation of all the moving…