Within a film festival circuit increasingly torn between the poles of bombastic monumentality and tasteful subtlety, Mikhaël Hers’s Amanda might present something of a odd proposition. Evincing hushed directorial observation and bearing sundry half-toned developments, the film would seem to fall squarely in the latter category. But just when a viewer might think they have it pegged down, it shifts unexpectedly towards the lines of a straightforward tearjerker. And yet Hers still demonstrates a commitment to deflecting emotional cliché, the film’s moment-to-moment movements (not to mention its overall shape) frequently recalling Mia Hansen-Løve’s Father of My Children (2009), a Parisian drama that likewise serves up a whirl of frenetic activity, before arresting that motion with an abrupt traumatic turn. It’s a testament to Hers’s film that such assessments feel incomplete.
Amanda’s central figure is David (Vincent Lacoste), a sweet, if unremarkable twenty-something who holds a number of odd jobs—though mainly, he manages an apartment complex for a Parisian property magnate. When first introduced, he’s already missed an appointment to pick up his seven-year-old niece Amanda (Isaure Multrier) from school, which he’s later berated for by his elder sister Sandrine (Ophélia Kolb), the girl’s loving, harried single mom. The two are the only family he sees regularly, his father having passed away, and his mother having left for her native London when he was a child. Indeed, apart from Lena (Stacy Martin), a young pianist newly arrived in Paris, with whom he starts a budding romance, the mother-daughter pair seem to be the only people he has any steady attachment to. But it’s not until about thirty minutes in that his feckless behavior has any sort of implications. Up to this point, the film is so languid, so bewilderingly normal that one might wonder what, precisely, it is meant to be. We soon find out.
Characteristically late for a mid-afternoon picnic with his sister and some friends, David arrives to the bloody aftermath of a terrorist attack conveyed in a quick succession of startling cuts, and then a static wide shot that slowly fades to black. A halting interaction with two survivors outside a hospital soon follows, but when we next see David, he’s pacing his sister’s apartment as Amanda slumbers in the back room. When she wakes, he will have to tell her that she no longer has a mother. As to what will happen after, he does not yet know.
In retrospect, it’s clear that Hers has laid the groundwork for this decisive pivot. We learn early on that Sandrine has bought tickets for the three to go to Wimbledon, with the ancillary goal of reconnecting with her and David’s estranged mother, establishing the film’s concerns with parental absence and filial grief. But it’s a mark of Hers’s deceptively casual direction that the involving specifics of the first half-hour don’t at all feel predictive. We might wonder, for a time, why the film is even titled Amanda, but the chaos of the present—its occasional pleasures and near-constant frustrations—pushes such questions from the mind. Only in retrospect do we think of the November 2015 Paris attacks. Only in retrospect are we able to perceive what we have been watching as a mere prologue.
As David’s newfound parental responsibilities become enfolded into a study of coping, Hers observes all manner of intriguing details: the vacation rules of the institution that he considers sending Amanda to; his disposal of Sandrine’s toothbrush, quickly undone when his niece protests; and even his abortive meeting with a journalist looking to write a story on the victims, a scene that’s more astute for being all but detached from the overall story. And though Hers’s camera isn’t quite as nimble as Hansen-Løve’s, he shares her talent for disarming elisions. (A particularly sharp cut takes us from a hesitant kiss between David and Lena at nighttime, to the bleary-eyed morning after, with the latter nowhere in sight, and Amanda now curled up next to her uncle, having evidently been plagued by nightmares that we’ve seen him deal with before.) Much more so than Hansen-Løve, though, Hers demonstrates a willingness to amplify his story’s sentimentality, which means that Amanda might leave a viewer somewhat suspicious at times. But it also manages to locate moments that are all the more potent and astonishing for being so emotionally direct. In that respect, the final scene, set at the Wimbledon game so long in coming, is both instructive and emblematic. As Amanda watches a player being beaten, she becomes distraught out of all proportion to the events on-screen; but then he rallies, and her pure delight is something to behold. A too-simple structural equation of grief and resilience, perhaps—but in the case of a child, does it not cut to the heart of the matter? It takes a certain confidence to tether the emotional crescendo of one’s film to the outcome of a tennis match—and Hers pulls it off beautifully.