The School of Flesh (1998)

Although the two protagonists are so different from one another in age, socio-economic status, education, they are both lonely souls who have been deprived of guidance and love. It is the blind leading the blind as they come together in a kind of relationship of convenience.It seems at first that Dominique seeks a walk on the wild side, but ultimately to tame and to nurture her conquest, while Quentin seems to take even temporary financial support wherever he can find it. The characters' development, through their relationship with each other, and as they expose how their inner life has been conditioned before they met, is a kind of dance of the seven veils.Neither is who each seems and manages to defy the inevitable stereotype we expect to fit the story's premise. The nuanced twists and turns in character, and particularly as they forge a relationship with "the other," demands subtle acting. Both actors are up to the task. Martinez's presence grows as an essential humanity is revealed that elevates him above his day to day urge for survival and autonomy. Isabelle Hubert stuns by restraint, bringing vulnerable dignity to Dominique's emotional trajectory.They can not change the fate of their relationship, but they leave a lasting impression on each each other nonetheless.

This movie examines obsession of the heart and body. Isabelle is brilliant. She is very personal. She expresses her need to be adored in a very vulnerable way, as in the arcade scene, when the boy refuses to leave. She walks away, the camera tracks with her, revealing her ambivalence and confusion. She then returns, tries to play his games, but is unsuccessful. It's a wonderful scene and she's fabulous. Love to meet and work with this incredible actor. Her expressions are so telling. This movie had subtitles here in American and I really didn't need them most of the time to understand what was happening on the screen. I could identify with needing someone so much that you are addicted to them. Again, terrific movie. No car chases, just people chases.

Isabelle Ann Huppert is a gorgeous, mature woman. She dominates this film, and even though a strong cast supports her, she still dominates. Her motive for sticking with this jerk remains cloudy, unless he is the world's greatest lover. I was mesmerised by Huppert, however, and I will look for more films with her in them, and there are quite a lot of them.

This film is near the top of my list for best films out of France. It is a superb production. The scenes between Dominique (Isabelle Huppert) and Quentin (Vincent Martinez) are completely convincing with natural conversation and sensitive mood changes. While the disparity of ages between lovers is not a new theme, it has never been handled more expertly than here where the older woman wants to "possess" the young call-boy but he is determined to remain a free spirit. What is so arresting in this story is that we know so little about the characters and their past. But information is gleaned bit by bit from their conversations, and never very much, so we hunger for more as the story unfolds. The dewy-eyed Isabelle Huppert in the final scenes reveals her talent as a fine actress. A wonderful piece of cinema that holds you to the end...and what an ending when the two characters realize that their dream has ended and they now face the harsh realities of life.