'Last Summer' Review - Taboo Drama Is This Year's 'Tár'

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'Last Summer' Review - Taboo Drama Is This Year's 'Tár'
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Taylor Gates is an LA-based critic earned her BFA in Creative Writing from the University of Evansville. She has been with Collider since 2022.

The Big Picture All it takes is one spontaneous moment to alter the course of your life. It can change everything for the better — quitting a job you hate to travel around the world, swiping right on the love of your life, taking the first steps to get help — but it can also have the opposite effect. Taking your eyes off the road, saying something awful in the heat of an argument, or cheating on your partner, for instance.

'Last Summer's Distance Does It a Disservice But it’s the aftermath of the inevitable explosion that’s the most riveting part — something to which director Catherine Breillat thankfully devotes a good portion of time. The film starts off relatively slow, indulging in the gorgeous scenery and twisted romance between the pair. It’s deeply unsettling, which is what the film is going for. Unfortunately, it can also start to get a little boring.

'Last Summer's Performances Are Its Highlight There has been no shortage of films about age-gap relationships as of late, each with varying degrees of controversy. There’s Todd Haynes’ May December, of course, as well as Paul Thomas Anderson’s Licorice Pizza and Luca Guadagnino’s Call Me By Your Name. Last Summer has elements of all of them, though the recent movie it feels most reminiscent of to me is Todd Field’s Tár.

It’s when these two worlds combine that the film becomes most compelling. Breillat pulls a bait-and-switch by making Anne utilize her skills as a lawyer for her own benefit, turning the tables and gaslighting Théo and Pierre with ease. And it’s this ease with which Drucker manipulates that turns this film from a melodrama into something of a thriller. Anne is a tragic, floundering protagonist, but she’s also a dangerous one.

The film introduces complex ideas about ageism and the ways different generations view sex, but it all ends up a bit surface-level. These themes are never satisfyingly engaged with, instead feeling like they’re brought up to justify aspects of the character.

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