When he isn’t actively engaged in an acting career that has made him one of the most respected young performers in contemporary European cinema, Louis Garrel can often be found honing his craft behind the camera, carrying on the legacy left by two generations of filmmakers that came before him, and proving he is as talented a filmmaker as he is an actor. Having made a small handful of films, both shorts and feature-length, Garrel has proven himself to be a formidable force behind the camera, even though some have accused his directorial work as being quite slight and not all that consequential in comparison to some of the other films that he has been involved with over time. While that criticism may be relevant to an extent, he has proven that he is capable of crafting something of immense depth and complexity in the form of The Innocent, his fourth feature-length film as a director, and the moment he consolidated himself as an essential cinematic voice. The film centres on Abel, a young man who has never truly been able to grow up to be entirely independent, who becomes oddly suspicious when his free-spirited mother falls in love with an inmate at the prison where she volunteers as an acting teacher, subsequently marrying him and pledging to spend her life with him after his impending release, which stirs even more concern in the overly inquisitive Abel, who doesn’t believe that anyone can ever be truly reformed, and he begins to worry that his mother is about to be the victim of a violent crime at the hand of this mysterious career criminal, which sets off a series of events that eventually finds our young protagonist working closely with the very person he has dedicated his time to erasing from his life, all with his best friend helping him along the way. A hilarious, heartfelt and truly entertaining film, and one that understands exactly how to draw the line between reliable filmmaking and a more experimental approach, The Innocent is a true gem of a film, and one of the more intriguing examples of socially-charged comedy in recent years, being far more complex than we may expect based on a cursory glance, which is part of the surprising brilliance that envelopes this delightful and irreverent comedy.

One of the first aspects that strike us when entering into the world of The Innocent is that this is a deeply complex film that is delivered as if it was the most simple, straightforward comedy. Garrel’s writing and direction take the form of a film far less furnished than it is in reality, which is a smart approach, considering so much of the impact made by this film is through utilizing the element of surprise. This is a film that is composed of multiple layers, both tonally and narratively, so it only stands to reason that there would be something immensely valuable about the experience of seeing these events unfold over the course of the story, which is riveting and deeply entertaining in a way that modern films tend to struggle to embody. The story goes in many unexpected directions, with Garrel masterfully handling the shift in tone with remarkable dedication, enough to keep the entire film consistent in its broader ambitions. Most impressive is this film’s ability to seamlessly bounce between genres, seemingly done without too much intensive effort, which shows exactly how well-constructed this film was right from the conceptual stages. The film is primarily a comedy, and while the use of the term “screwball” has not always been ideal, since it mostly is used to describe slightly more eccentric comedies in a contemporary sense, it is entirely appropriate here, with the wacky sensibility and deeply meaningful approach to the humour being very much indicative of the kinds of zany comedies of previous decades. Added onto this are broad overtures of romantic melodrama, film noir and the heist thriller, each one seamlessly interwoven into the fabric of this film, which draws from each one of these genres with precision, blending them with the charming humour to create a multilayered experience that is objectively hilarious, but not without its moments of complexity. In both a narrative and tonal sense, The Innocent feels so much more complex through the process of employing many overlapping ideas in its perpetual pursuit for not only the deeper truths that underpin these characters, but the earnest sense of tender humour that we find in only the most meaningful character studies, of which this film is one of the best we’ve seen in years, with Garrel (as well as co-screenwriters Tanguy Viel and Naïla Guiguet) deserve a wealth of credit, since these ideas could not have been particularly easy to put together, let alone having the result to be such a well-written, profound exercise in humanistic filmmaking.

Momentarily putting aside the incredible construction of the film in terms of both narrative and visual elements (with the simple but evocative cinematography by Julien Poupard adding to the atmospheric sense of melancholy and tension that cuts through the moments of wackier humour), we can find that The Innocent is a film that is far more than just the sum of its parts, and instead uses all of these very creative qualities to capture the spirit of the overall message that drove Garrel to tell this story. There are a few moments where it feels slightly predictable, but not only is this to be expected from a film that is working within so many different genres, it is actually beneficial, since it gives Garrel the chance to infuse it with a few more bespoke themes, or rather providing a different perspective on common ideas. The Innocent is a film that pays attention to the smallest details that exist between individuals, being a captivating portrait of the simple virtue of friends and family, and how they play a part in our overall development in ways that can sometimes be quite surprising. The overarching narrative is very strong and unquestionably entertaining, but the aspect that truly draws our attention, as well as maintains it for the duration of the film, is how the film paints a vibrant and entertaining portrait of the human condition, focusing on a portrayal of life as being nothing more than a series of interactions between a wide range of people, each one adding to the lives of those whose paths they cross, whether intentionally or by chance. To succeed in life is to make as many meaningful connections as possible, and whether this is with those around us, or with ourselves, this film shows the value of taking such a chance and developing those iron-clad bonds, which are nourishing for our socially conscious, as well as potentially useful for future opportunities. It does all of this with an abundance of wit and elegance, which is incredible in its simplicity, all the while putting in the effort of showing the immense artistry that drove Garrel to put this story together, as well as executing it with the layers of wit and candour that we find punctuating the most important and compelling scenes of this film.

It does make sense to a certain extent that we would praise Garrel for most of the success that comes from this film, because in the capacity of both a writer and director, he stood at the helm and delivered everything that was required to tell this story. However, to only focus on his work behind the camera does an immense disservice to not only his own skills as an actor, but also the work being done by the rest of the cast, who are the heart of the film, and the primary reason for its success. Garrel is terrific, playing the part of Abel with a vague immaturity that is entertaining rather than annoying, a very rare occurrence for this kind of character. Garrel may be a major star, but he shows that he is always willing to approach his work with the earnest intensity of the journeyman character actors he grew up admiring, whether from afar or through interactions with the collaborators that appeared across from his grandfather or in his father’s films. Considering this, he chooses to go slightly off the beaten path in choosing the rest of the cast, handpicking the best actors to bring these characters to life. Similarly to Garrel, Noémie Merlant has steadily ascended to being one of the most reliable and interesting actors in contemporary French cinema, and her performance as the protagonist’s best friend and eventual love interest is purely delightful – upbeat, charismatic and filled to the brim with the kind of wonderful humour that she has not been able to demonstrate all that often in her more dramatic work. They’re joined by Anouk Grinberg, who has been working far more sporadically than she was at her peak, this film being a rousing and triumphant return to meaningful roles for a truly fascinating actor, and Roschdy Zem, who is a terrific actor that has been working consistently, albeit not in this kind of character, which proves his immense versatility and ability to fit perfectly into the zany world being envisioned by Garrel and his cohorts. A film anchored by this central quartet, and supported by a colourful cast in peripheral but essential roles, The Innocent reflects on its central themes while being a bold and insightful statement on the human condition, albeit in a far more pleasant and enticing manner, which is inextricably tied to this terrific performances.

From its very first moments right up until its masterful conclusion, The Innocent is a remarkable film. A charming, insightful and bitingly funny satire that may focus on themes that we may not expect from a comedy, but which make sense in the context of this film, which is a work that never takes itself all that seriously, but rather exists to maintain a level of honesty in terms of how it views certain subjects. A heartfelt and wonderfully poetic film with an abundance of heart and driven by a sense of genuine curiosity, we find ourselves becoming easily immersed in this world, one in which everything is slightly more charming than it is in reality, which adds an enchanting quality to this story, which it does not dare take for granted. Everything that makes this film work can be traced back to Garrel, who navigates the very narrow boundaries between multiple genres, each one a valuable component of this delightfully endearing and often unexpectedly complex comedy that tends to be at its best when it is appreciative of the slightly more unorthodox elements of its story. Delightfully endearing, frequently compelling and unquestionably unique in how it approaches certain ideas, The Innocent is a tremendous film, and all the proof we need to view Garrel as being an extremely intriguing young filmmaker, someone with a precise and meaningful vision, which he filters through a range of fascinating directorial concepts, all of which work in tandem to create this delightfully offbeat and wonderfully quirky examination of family, friendship and individuality, celebrating the more eccentric aspects of contemporary society in a way that feels heartfelt, drawn from a place of genuine emotional curiosity. A delight in both style and substance, The Innocent is one of the year’s most charming surprises, and quite simply a deeply compelling comedy with as much heart as it has humour.