La Chambre bleue/The Blue Room

La Chambre bleue/The Blue Room

Directed by Mathieu Amalric

Rating: 4/5

Based on George Simenon’s novel of the same name, Mathieu Amalric’s film adaptation of La Chambre bleue is an erotic psychological thriller with an element of crime. However, La Chambre bleue doesn’t position itself as a whodunnit but, instead, invites the audience to follow a love affair that asks whodunnwhat.

The film follows Julien Gahyde (Mathieu Amalric), while he is being questioned for an unknown crime. The questions trigger memories of his love affair with Esther Despierre (Stéphanie Cléau), a woman he would meet in a blue hotel room. Set on being more than his mistress, Esther’s dreams are built on Julien’s empty yet fatal promise that the pair will be together forever. However, as the affair continues, Julien becomes plagued with guilt and soon decides to end all contact with her. As Julien attempts to make amends with his family, Esther becomes more fixated on putting his promise into motion, which is the catalyst for the unknown crime and Julien’s current state.

This notion of two distinct worlds in La Chambre bleue is cleverly captured through the director’s filmic choices. The cinematography provides striking yet minimalist scenes that show the attraction between Julien and Esther but also contrast those moments to Julien’s day-to-day life — a life that is disatisfying and detached. As Julien is unable to keep his life in the blue room separate from his reality, the audience finally begins to unravel what actually happened. 

At times, La Chambre bleue can be a source of frustration for the audience. Stories that involve crime usually encourage us to play detective, but in this film clues are stalled and Julien’s memories of the past create a confusing perspective. His distant behaviour and his inability to separate escapism from reality leave us with an unreliable protagonist.

La Chambre bleue is an interesting film, which explores reality in a way that is distinct and intellectual. Although audiences are denied the role of detective, the film’s denial is also what engages them, as they are left to attentively watch the thriller unfold.

This article first appeared in Issue 18, 2015.
Posted 2:16pm Sunday 2nd August 2015 by Greta Melvin.