Pretty Things

A spoiler light review of Pretty Things should begin with tone, because Gilles Paquet Brenner understands exactly how this drama ought to feel. Pretty Things gains early credibility from Marion Cotillard, whose presence is balanced by the different rhythm of Stomy Bugsy. The foundation of Pretty Things can be stated simply: Lucie and Marie are twin sisters with a love hate relationship. Within its 1h 45m running time, Pretty Things reveals both the benefits and the limits of that disciplined approach.

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What Pretty Things has to say is rooted in communication, responsibility and the small choices that reshape relationships. The experience of Marion Cotillard carries that question through Pretty Things without reducing the character to an example. The central character helps Pretty Things test the theme through consequence instead of explanation. When Gilles Paquet Brenner allows ambiguity to remain, Pretty Things becomes more involving than a simple statement of intent.

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A close look at Pretty Things reveals how conversation edited with patience carries information that the dialogue wisely leaves alone. Under the production banner of C.A.P.A.C., Pretty Things treats conversation edited with patience as part of its storytelling grammar. Close attention to expression gives Pretty Things a stronger sense of place within its France context. The technical departments of Pretty Things remain coordinated, so polish supports involvement instead of creating distance.

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Pretty Things finds its clearest story engine when Lucie comes into conflict with Marie. That engine gives Marion Cotillard something concrete to pursue and protects Pretty Things from empty movement. In the hands of Virginie Despentes, Paris becomes a useful complication rather than a detached twist within Pretty Things. The final use of the central character is familiar, but Pretty Things has already established enough context for the turn to matter.

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The directorial personality of Pretty Things comes from Gilles Paquet Brenner remaining engaging in bursts but unable to maintain the same control when the premise invites excess. Within Pretty Things, Gilles Paquet Brenner repeatedly favours readable choices over attention seeking flourishes. That discipline explains why worthwhile ideas compete with an uneven structure in Pretty Things rather than appearing only in isolated scenes. Where Pretty Things becomes less convincing, the pace alternates between hurry and drift, and the loss of control is noticeable without becoming fatal.

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Performance is the clearest human asset in Pretty Things, beginning with the committed centre provided by Marion Cotillard. Stomy Bugsy keeps Pretty Things from settling into one emotional register by approaching the material from another angle. The presence of Patrick Bruel gives the surrounding world of Pretty Things additional texture without distracting from the main line. When Gilles Paquet Brenner holds on a reaction, Pretty Things communicates more efficiently than another explanatory exchange could manage.

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For drama viewers who value performance and emotional detail, Pretty Things is ultimately a qualified recommendation. Its most persuasive combination in Pretty Things brings Marion Cotillard together with close attention to expression under the direction of Gilles Paquet Brenner. The fact that the pace alternates between hurry and drift prevents Pretty Things from being entirely seamless. Even with that reservation, Pretty Things has a clear point of view and enough genuine feeling to justify the journey.