While Philip has been suffering from panic attacks in the city, the early scenes, tenderly evoked by Seydoux and Rupp, show an idyllic family existence, one that is soon to be shattered.
Her mother Eloise (Catherine Deneuve) tries to help, but Lucy is increasingly locked in a spiral of despair as her perfect life unravels – not least when she begins to imagine that Philip may have abused their son.
A subplot – slightly less successfully – offers a parallel track with young investigating office Else Kühn (Jella Haase) and the sexual misconduct of her ageing father, who has been groping his live-in carer, Natalia (Patrycja Ziółkowska). She, too, makes excuses for the actions of someone close to her.
Driven by its formidable lead actress, the film is at its strongest when it stays with Seydoux’s soul-ripping turn. Famed for playing the love of 007’s life in the Daniel Craig-era James Bond movies, Seydoux offers up one of the most powerful portrayals she’s given since her turn in the Cannes-winning Blue Is the Warmest Colour. Just the shots of her at the piano, hammering at the keys as if to crush all the pain she’s feeling, are enough to startle.
The music comes arranged by Camille, the French singer-songwriter who previously saw her song She Was featured in Corsage and later went on to co-write the songs for Jacques Audiard’s musical Emilia Pérez. Here, she finds a perfect, unique style for Lucy, beginning with a reinterpretation of Charles & Eddie’s Would I Lie to You? in the opening scene – a title that, of course, carries increasing significance as the story unfolds.
View Green Video on the source websiteArguably, the subplot featuring Officer Kühn and her father adds little to the story, beyond showing us that monsters hide in plain sight. But with Seydoux on ragingly good form – expect a nomination for her at this year’s European Film Awards – Gentle Monster is still a powerful and profound work, one that will shake you to your core.
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