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asset-embed__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">In “The Tth,” an actrs played by Cathere Denve (send om right) prepar for the publitn of her own self-servg memoir.</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Photograph Courty IFC Films</span></div></figure></div><p class="has-dropp has-dropp__lead-standard-headg paywall">There’s a special energy unleashed when filmmakers pict versns of the i which they work and the practice of their art form. The herent element of self-revelatn films about filmmakg is a severe tt of artistry, which is why the tth of this new film, wrten and directed by Hirokazu Kore-eda, is found ls the characters’ many repetns of the ponro tle word than is the movie’s central subject—the turbulent life and work of a great actrs. “<a href=">The Tth</a>” (which will be released Friday on Amazon, iTun, and other servic) is the first drama that Kore-eda has ma outsi Japan, and the geographil and cultural distance that he has bridged to nsir the i of moviemakg also giv rise to a gimlet-eyed emotnal distance that, when the movie is at s termtent bt, yields startlg sights about the art.</p><p class="paywall">It stars three of the most famo actors of our time—Cathere Denve, Juliette Boche, and <a href=">Ethan Hawke</a>—and s drama feels veloped on the basis of their personali and mythologi. Denve plays a long-celebrated French actrs of about seventy, Fabienne Dangeville, whose memoir—omoly tled “The Tth”—is about to be published. For the ocsn, Fabienne’s dghter, Lumir (Boche), a screenwrer who liv New York, travels to Paris wh her hband, Hank (Hawke), a stgglg actor, and their dghter, Charlotte (Clémente Grenier), who’s about seven, tow. Lumir has e to town ostensibly to celebrate the publitn of her mother’s book, but actually to sctize . Moments after their arrival at Fabienne’s lavish hoe ( the Fourteenth Arrondissement), Lumir protts that Fabienne had promised to let her read and ment on the mancript before the book was prted.</p><p class="paywall">Upon arrivg at Fabienne’s hoe, Lumir locks herself wh a py of the book, a pen, and Post-s, and disvers that s ntents are far om the tth and hardly the whole tth. In nontg Fabienne wh her omissns and fabritns, Lumir dredg up a lifetime of rentments—which are prcipally focsed on the memory of another actrs, Sarah Mondavan (the last name is a near-homonym for <em>mon d’avant</em>, “the world before”), who was Fabienne’s close iend and Lumir’s virtual guardian when Fabienne was by fg her reer. Des ago, when Lumir was young, Fabienne stole a plum role om Sarah by sleepg wh a director; soon thereafter, Sarah died a r accint, and Lumir has always blamed Fabienne for . The long-standg gdg that Lumir bar are soon amplified by Fabienne’s new miseds. The star has celly alienated her longtime assistant, Luc (Ala Libolt), by not mentng him her memoir. She has also distorted tal of Lumir’s childhood to enhance her own image as a voted mother—even as she avows, to Lumir’s face, her own maternal failgs and fends them as the trivial price of artistic glory, which she’s still the procs of extendg.</p><p class="paywall">Fabienne is about to film a supportg role a new science-fictn movie that’s beg shot a stud jt outsi the cy. When Luc abptly qus his job wh Fabienne after a forty-year llaboratn, he manipulat Lumir—who had planned a mere few days’ vis—to take his place as Fabienne’s factotum for the duratn of the shoot. (The movie, a much too on-the-nose twist, is lled “Memori of My Mother,” and requir Fabienne to play not a mother but a dghter.) In the urse of that shoot, Fabienne’s new artistic rivalry wh a young star, Manon Lenoir (Manon Clavel), merg wh her old on wh Sarah (to whom Manon is often likened). This facile and prefabrited nflict giv rise to siarly facile rolutns: the tug of blood relatns and fay sentiment asserts self, and the movie volv to clichéd patterns of pennce, renciliatn, and remptn. It’s all the more unfortunate given the tough-mdns of the film’s first hour—a tough-mdns that’s rooted discerng tun and observatn.</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">Denve, ont and center throughout, livers steely termatn and heedls rerve. Her Fabienne is an immovable object whose irristible force sparks, all around her, the chaos and nflict on which she thriv. From the very first scene, which Fabienne endur an terview by a fawng journalist, she toss off cril remarks and bsque judgments wh a lmly untroubled pugnacy—and she don’t shrk om behavg as high-handly to her latt hband, Jacqu (Christian Crahay); to Luc; to her first hband, Pierre (Roger Van Hool), an amiable bohemian who is Lumir’s father and also shows up the memoir (his role prov drolly dismissive, too); to the new film’s young director (Sébastien Chassagne); to another supportg actrs (Ludive Sagnier); to Hank, whose lser reer she mocks; and pecially to Lumir herself, who is the prime target of her valierly stabilizg furi.</p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">In btowg dialogue of quiet ferocy on Denve, Kore-eda tch a tone om her that’s also an emblem of her tim. As she speaks wh a regal ntrol over her own emotns and her own gtur, stg or standg wh magisterial stillns while lnchg poted glanc like laser-guid missil, Denve both embodi the absolute disciple of a full-time diva and the ambient harshns of pre-1968 France. Born 1943, schooled the era picted by <a href=">François Tfft</a> “The 400 Blows,” Denve here reprents an age of llective rigid orr and sual aggrsn, a time of ankns that flicts emotnal punishment along wh stern disciple. By ntrast, Boche—a child of the sixti and seventi, like Lumir—embodi, her looser gtur and eer manner, the post-’68 generatn of liberalized mor and humanistic valu. (The nciliatory and empathetic Lumir is by no means weak, though the nature of her strength remas unexplored.)</p><p class="paywall">It’s this extraordary dramatizatn of France’s ccial generatnal divi, and s cematic implitns, that giv “The Tth” s ronance beyond the emotnal specifics of the drama, potent though they often are. The centerpiece of the movie is a remarkable sequence, about eight mut long, at the dner table where the Dangeville fay (very much a matriarchy)—Fabienne and Jacqu; Lumir, Hank, and Charlotte; and Pierre—are assembled for ftivi that quickly turn bter when Fabienne mocks Hank’s achievements (“Nowadays anyone n be an actor”) and abili (“It’s an imatn. . . . Actg is more than that; what unts for an actor is personaly, prence”). (Hawke, of urse, has plenty of both, and his game artistry is reflected the pretg role.) Lumir remds Fabienne that she built her reer by liberately stroyg the more talented Sarah’s profsnal and private life, and Fabienne tells Hank that actors waste time on humanarian and polil activi only when “they’ve lost the battle onscreen, so they dive to realy. They pretend to fight agast realy. . . . I’ve always won that battle; that’s why I n endure solu.”</p><p class="paywall">The juics of the dialogue “The Tth,” the sublime pch of Fabienne’s relentls domatn of anyone her path, whether fay or iend or lleague, would risk self-parody wh an actrs more heated and ls poised than Denve. That’s why the rapid and ictnls shift of the drama to more nventnal gratifitns of fay renciliatns and warm profsnal relatns—admirable though they may be life—prov so dishearteng the ntext of the movie. Kore-eda’s own dramatic nstctn reveals s lims pictg a character whose allurg and terrifyg strength flows beyond the boundari of the ame and of the scene, yet his scen exist only to the extent of the dialogue; they are not so much tt or tense as merely clipped to f. Kore-eda has created a character whose mighty creative energy is also sentially stctive, whose artistic power onscreen has the effect of a weapon life, but his sense of form rc to the exemplary and the edifyg. It’s Kore-eda’s flt hab, as his 2016 film, “<a href=">After the Storm</a>”—his characters, however willful or disorrly, seem pned to the screen—but, “The Tth,” Denve’s power threatens to break his neat system. Perhaps a filmmaker whose powers were ls orrly, ls morally driven to soothe and pacify, uld have phed Fabienne—and Denve—to tragic and stylistic extrem that would have renred the film’s renciliatns as mighty as s nflicts. Instead, he offers half a film of magnificent agments.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box ArticlePageSplAdRail-OyjwD jikppc"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="ArticlePageSplAdRailContent-jsltpq iZDmmY spl-ad-rail-ntent"><div class="ArticlePageSplAdRailTop-jUrrVY jzzFg"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="n0njga"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div><div class="ArticlePageSplAdRailMiddle-tiRvu hiZeZX spl-ad-rail-middle"></div><div class="ArticlePageSplAdRailBottom-dBKMGQ jmCMsn spl-ad-rail-bottom"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="1dpltp"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></asi></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 PaywallInleBarrierWhWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__le-barrier article__body"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"><asi class="PaywallInleBarrierWrapper-iBnuqk lfXXa-D" data-ttid="PaywallInleBarrierWrapper"><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--paywall-le-barrier" role="prentatn" aria-live="pole" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--paywall-le-barrier"></div><div class="journey-un"></div></div></asi></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ContentWrapperGrid-fvkmBv brYtrA grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__ntaer"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG dTJkpP ArticlePageContentFooterGrid-ccsXYy eMZRHU article-body__footer"><div data-ttid="RowWrapper" class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"></div></div></div><div data-ttid="RowWrapper" class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="ContributorsWrapper-eNpWFu GWFsc ntributors" data-ttid="Contributors"><div class="ContributorBWrapper-bnVHbt gMon"><div class="ContributorBAvatar-bIGTqf eMWbvj"><a href="/ntributors/richard-brody"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w" siz="100vw"/><img alt="" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span></a></div><div class="ContributorBContent-ubQdr jZTSSi"><div class="ContributorBHear-ledood XOIEx"></div><div class="ContributorBB-fBolsO giFhKz"><a href="/ntributors/richard-brody">Richard Brody</a> began wrg for The New Yorker 1999. He wr about movi his blog, <a href=">The Front Row</a>. He is the thor of <a href=">“Everythg Is Cema: The Workg Life of Jean-Luc Godard</a>.”</div><div class="ContributorBFooter-brqDlv ezUmSv"></div></div></div></div></div></div></div><div data-ttid="RowWrapper" class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div data-ttid="TagCloudWrapper" class="TagCloudWrapper-gGgndx ctyZyK ContentFooterTagCloud-krQmRG ZLGh"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudSectnHear-cOforY iUEiRd bPyAoD kQQRmu">More:</span><a href="/tag/movi" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Movi</span></a><a href="/tag/there-nve" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Cathere Denve</span></a><a href="/tag/juliette-boche" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Juliette Boche</span></a><a href="/tag/ethan-hawke" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Ethan Hawke</span></a><a href="/tag/ench-cema" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">French Cema</span></a><a href="/tag/japane-films" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Japane Films</span></a></div></div></div></div><div data-ttid="ContentFooterBottom" class="ContentFooterBottom-jwWZfC kcbyiW"><div class="ContentFooterNewsletterContentWrapper-bmjtna kixtae"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div data-ttid="NewsletterSubscribeFormWrapper" class="NewsletterSubscribeFormWrapper-fCqqkN jKSBhE newsletter-subscribe-form ContentFooterNewsletterForm-hKeYwa liPqcf"><div data-ttid="NewsletterSubscribeFormHedDekWrapper" class="NewsletterSubscribeFormHedDekWrapper-fpMElW eglIBL"><h3 class="NewsletterSubscribeFormDangeroHed-kRwWjt jjsHHz newsletter-subscribe-form__hed ContentFooterNewsletterForm-hKeYwa liPqcf">Gogs On</h3><div class="NewsletterSubscribeFormDek-kXonvc lhYeOn newsletter-subscribe-form__k">What we’re watchg, listeng to, and dog this week, onle, N.Y.C., and beyond. 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class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">The Current Cema</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-1" data-recirc-pattern="summary-em" href="/magaze/2020/03/23/the-generatnal-anxieti-of-the-tth" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">The Generatnal Anxieti of “The Tth”</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href="/magaze/2020/03/23/the-generatnal-anxieti-of-the-tth" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-1" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Generatnal Anxieti of “The Tth”" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">Trouble may be brewg between a mother and a dghter (Cathere Denve and Juliette Boche), but the director Hirokazu Kore-eda’s approach is elliptil to a flt.</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div 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class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href="/culture/the-ont-row/what-to-stream-the-killg-floor-a-historil-drama-of-racial-nflict-and-the-labor-movement" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="What to Stream: “The Killg Floor,” a Historil Drama of Racial Conflict and the Labor Movement" class="RponsiveImageContaer-eybHBd fptoWY 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class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">Bill De’s first feature brgs a story about a meat-packg unn movgly, passnately to life.</div><div class="SummaryItemByleWrapper-boCfbi hYsZi summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Richard Brody</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hlYhBH summary-em summary-em--evio summary-em--no-in summary-em--text-align-left 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siz="100vw"/><source media="(m-width: 768px)" srcSet=" 480w" siz="100vw"/><img alt="Unexpectedly Quirky Movie Moments wh Richard Brody" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl ldWYvC summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Vio</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-3" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">Unexpectedly Quirky Movie Moments wh Richard Brody</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" 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