A middle-aged woman tasked with caring for her dying husband gets an unexpected visit from her grown son and his handsome boyfriend.
The visit edges her into an unexpectedly seductive encounter, awakening feelings and longings that laid long dormant within her.
Director Rafael Moraes’s poetic, delicately observed drama marries quiet, subtle performances and stately, elegant photography to tell a tale about the internal life of a woman who long ceded her hopes and dreams to tend to her sick husband.
Genevieve still lives in her stately apartment with her husband and dresses herself with muted elegance, even as she goes about the duties of tending to her husband’s illness. But the home is hushed with a kind of lifelessness, and it feels much like a trap, especially as the camera constantly frames her in windows and doors, as if she’s trapped in a beautiful but airless picture.
But her son and his handsome boyfriend jolt some life back into the house when they arrive, and Genevieve discovers a lost dimension within herself that brings her back to life. One small moment she has with her son’s boyfriend proves to be a defining turning point in her life, giving Genevieve a sense of hope by the film’s end. The scene is handled with a beautiful sense of intimacy and surprise, with each performance handled with a precise emotional progression.
“Genevieve, Paris France” is a thoughtful, sensitively observed and well-acted vignette, and part of Moraes’ evolving series of short films called “Lost Souls,” which explores moments of change and revelation in characters’ lives as the world shifts irrevocably around them. While Genevieve may hail from a different corner of the world and live in a rarefied milieu, this lovely short will make viewers reflect on the moments in their own lives when a shift of consciousness became possible — and opened up a new hope and optimism.