«Les Fantasmes» stimulates Foenkinosphobia

Cinema Wednesdays - Fanny Agostino

Soon to be as popular as the Bogdanoff brothers, the Foenkinos siblings are at it again. The «daring» theme and prolific cast of their new comedy are not enough to arouse the viewer's curiosity. This catalog of sexual fantasies, which skims the surface of its subject, resembles a supermarket prospectus: a choice of promotions without an ounce of freedom.

The Ghosts presents six independent stories. Each one features a couple—either bourgeois or on their way to becoming so—whose sexual practices are suddenly thrown into disarray. Breaking free from the monotony of intercourse—whether out of selfishness or a sudden impulse on the part of one partner—sets the stage for a disaster waiting to happen. There is no narrative continuity in this film, which consists of sketches lasting about twenty minutes each. All of them lay bare for the viewer the issues arising from the arousal sparked by a particular situation, which stands in contrast to a society that views it as taboo and deviant. These fantasies are labeled on screen with superimposed text: dacryphilia («being aroused by tears»), sorophilia («desiring one’s spouse’s sister»), thanatophilia («an attraction to death»), etc. While the terminology reinforces the curious and strange nature of these arousal triggers, it is also paradoxical for the viewer—even frustrating—as these terms refer to a reality that, unfortunately, will never be explored in depth on screen.

What matters is the fall

Stéphane and David Foenkinos do indeed seem to be tackling a subject that could have been interesting—and one that isn’t without precedent. One is reminded of Michael Fassbender playing a sex addict in Shame (2011). More recently, and in the same vein as our French comedy, the series Sex Education whose third season is set to premiere on Netflix has shown that it is possible to address the subject with subtlety and without compromise. This sense of detachment seems to be lacking in our directing duo. The Ghosts merely beats around the bush without ever tackling its subject head-on. The confrontation is clumsy and prudish. This can be explained by the viewer’s difficulty in connecting with the film: a cruel lack of meaningful dialogue—Monica Bellucci ends all her sentences with a word in Italian—and unconvincing acting, with a special mention for Ramzy Bedia and Nicolas Bedos.

But it would be too easy to pin the film’s failure solely on these elements. The real problem is that the heart of the story is lost in the moralizing structure of the six fables. All of these sketches end with a punchline that must to be funny. Randomly thrown in: the “hoist by his own petard” trope, the existential crisis, the transformation of fantasy into sadism… Thus, what could have been a funny and touching story is entirely devoted to fizzling out in this vein: the end justifies the means, at the expense of form. It’s a shame, because these depictions of everyday life allowed for a multifaceted approach and great creative freedom. It’s ruined by energy misdirected. The Foenkinos are just beating around the bush.

A private or public matter?

As for the last couple introduced, this one takes on special significance. First of all, it is portrayed by Jean-Paul Rouve and, above all, Karine Viard, an actress who has already appeared in Jealous, the two brothers’ previous comedy. The comparison doesn’t end there, since she also plays the role of a teacher. This latest exploration of sexuality is also different from the previous ones. It’s a mise en abîme of the fantasy. The couple is, in fact, in the habit of filming themselves during sex. Unfortunately—or unconsciously—the husband accidentally attaches a sex tape to an email… The video goes viral. Social shame, the right to control one’s own image, the tension between incongruous behavior and a civil servant’s job… All the themes this incident could have raised are undermined by a twist.

After giving it some thought, Viard comes to terms with her new status. Just when she was feeling down, she suddenly finds herself filled with renewed confidence thanks to the comments the video has garnered. Comments like «you’re hot» and «MILF» push her to change her life and become a porn star. The moral of the story: no matter what people think, you have to live out your fantasies for all to see. However, this fantasy was never hers to begin with—it was her husband’s. The gap between making videos in the privacy of her own home and producing professional footage intended for the eyes of all curious onlookers is vast. This transition also marks the end of the allure of hidden desire, nurtured in the shadows. Once played out in the public eye, the fantasy ceases to be one.

What can we expect from the Foenkinos from now on? To use the politically correct and restrained language of their feature film, not much. Except that their passion for cinema is content to flourish in the private sphere.

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