«Mocha»

Le Regard Libre N° 20 - Loris S. Musumeci and Jonas Follonier

Frédéric Mermoud's second feature, an existential quest and anguish, hit screens on August 17, Mocha. Adapted from Tatiana de Rosnay's novel of the same name, the film follows a mother's tireless search for her son's killer. Her son died suddenly after being hit by a mocha-colored car that didn't even stop after the accident.

Everything is unexpected in Mocha. From one scene to the next, Emanuelle Devos, who plays Diane, the mother, acts and reacts in ways that are as opposite as possible to what one would expect. This comes across as much through her lines as through her performance. With her evasive gaze and unsteady gait, she disorients the audience. It’s unsettling; yet it reflects a psychology that is, in fact, disturbed, shaken by the loss of her son. This critique is not negative, though it is not positive either. It notes a fact that may or may not appeal: such a portrayal of a distraught mother can be mesmerizing, yet it can also make it difficult to connect emotionally with the story. This is a risk often found in auteur films.

As for Nathalie Baye—what a woman! Steady, refined, and composed, she gives off just a hint of being a killer. Diane is convinced that it’s this beautiful blonde, the owner of a beige-mocha Mercedes, who killed her son. The role suits Nathalie Baye perfectly: just like in real life, she has a daughter «still figuring herself out,» Laura Smet. A mysterious and, paradoxically, friendly clash then arises between the two main protagonists, who misunderstand one another. The actresses’ performances could not be more different. While one has an anarchically fiery temperament, the other is a phlegmatic lake—Lake Geneva.

Lake Geneva—that iconic and mystical body of water. It is a character in its own right in the film. Frédéric Mermoud highlighted it well, though he could have done so even more and better. Beyond the landscapes, the plot is compelling thanks to its unhurried pace, which lends weight to the tragedy of the situation. The opening shots are equally compelling—here, the camera is handled with skill, giving the film a touch of Claude Lelouch’s style.

While the film isn't outstanding, it's still very good. And hats off to the director for his bold work, which dares to explore a more intellectual, slower-paced, and deeper form of cinema.

Write to the authors:
loris.musumeci@leregardlibre.com
jonas.follonier@leregardlibre.com

Photo credit: © Frenetic Films