‘Milo’ Review: Marion Cotillard Carries a Somber, Classically Made French Drama with Hints of Film Noir

Since the late 1960s, Nicole Garcia has carved out an intriguing niche for herself in French cinema. She started out as a promising young actress in films by Bertrand Tavernier, Jacques Rivette, Claude Sautet and Alain Resnais, most notably starring alongside Gérard Depardieu in Resnais’ masterful My American Uncle . Then in the early ‘90s she made the move behind the camera, building up a solid filmography over the past three decades with a predilection for dark dramas ( The Adversary ), romantic thrillers ( A View of Love , Lovers ) and crime stories ( Place Vendôme , The Favorite Son ). Not all of Garcia’s directorial efforts are equal, but they’re all marked by arresting performances and an intense, often downbeat vibe, making her something of a commercial counterpart (at least in France ) to fellow female auteurs like Claire Denis and Catherine Breillat. Related Stories Movies 'What Remains' Review: A Slow-Burn, Subtly Powerful Portrait of a Creative Couple in Turkey Coming Back From the Edge Movies 'Krux' Review: An Extremely Bleak, Strikingly Realized Chronicle of a German Village at the End of World War II

At age 80, Garcia delivers another strong if rather classically helmed drama with Milo ( 7h40 ce matin-là ), starring Marion Cotillard as an ex-con attempting to reconnect with her long-lost son (played by rising talent Théodore Pellerin , Lurker ) 20 years after being forced to abandon him. There’s nothing altogether new about this slow-burn, twisting scenario, which oscillates between family secrets and small-town film noir, but the movie still has a lot going for it: most notably a raw turn from Cotillard that ranks among her best recent work, shedding the glamour of her Chanel ads for something akin to what she pulled off in the Dardenne brothers’ Two Days, One Night . Milo The Bottom Line Dark drama grounded in good performances. Venue: San Sebastián Film Festival (Official Selection) Cast: Marion Cotillard, Théodore Pellerin, Artus, Laure Calamy, Alexis Manenti, Charles Berling, Éric Elmosnino, Anne Brochet Director-screenwriter: Nicole Garcia 1 hour 54 minutes

The struggling working-class character in that movie comes to mind when we first meet 40-something Alice (Cotillard), who arrives by bus in Romans-sur-Isère, a tough and not exactly picturesque rural enclave in southeastern France. Desperate for a job and a place to stay, Alice gets hired as a waitress at a local eatery that resembles a French Applebee’s, except it looks much more depressing, while holing up in a gloomy, barely-furnished apartment in the local housing projects.

It’s obvious from the start that Alice has an alternative agenda — the map she keeps tucked away in her bag gives this away — and her plans become increasingly clear when we see her spying on Milo (Pellerin), a 20-year-old auto mechanic and frequent client of the restaurant where she works.

Hopping between their two points of view, the script takes its time to tease out key pieces of information, which we begin to assemble as Alice spends more time around Milo without revealing her true identity.