Bonjour Tristesse is a divergent, understated remake in an economy of such films, which goes down more pensive thematic and stylistic avenues. In the summer in the south of France, teenage Cécile (Lily McInernry) is relaxing away with her father Raymond (Claes Bang) and his girlfriend Elsa (Nailia Harzoune). However, Raymond then announces that they will be visited by an “old friend” of his and Cécile’s mother, Anne (Chloë Sevigny), who catalyzes tension in the previously tranquil environment.

Cécile and the audience see Raymond breaking up with Elsa for Anne coming from a mile away. Anne immediately ᴀssumes the authority of a parent, and Cécile conspires with her boyfriend Cyril (Aliocha Schneider) and Elsa to break them up. 2024’s Bonjour Tristesse seems to pivot the focus of the original by highlighting Cécile’s bond with Elsa and offering some muted reflections on womanhood, but when it comes to the same ending, the final product is discordant.

Bonjour Tristesse Has A Breathtaking Backdrop For Its Story Of Infidelity, Family Drama & Coming-Of-Age

It’s Less About The Luxury & More About Everything Being Lovely But Everything Being Wrong

Bonjour Tristesse lulls you into its beachside French setting — it is somberly magnificent, and we are treated to an unending sequence of stunning postcard vignettes of the characters. It moves at a strange pace, and you begin to think the entire movie might just be these snapsH๏τs of domesticity and socialization accompanied by the stunning imagery, music, and the sound of the ocean. The new family happily dances in their villa, a young couple kisses with the glittering ocean behind them, Cécile lounges on the beach or the patio.

Noticeably, there are many extended close-ups of food preparation, or other tasks being completed, yet these momentarily central aspects of the cuisine, the home, and personal items are just as visually pleasant, from bright fruits to soft lace bedding. But it is like all these characters are focusing on whatever they can find to do with their hands to distract from the painful discomfort. In an indefinable way, the locale seems to quietly question what these characters think they are doing.

There is plenty of subtext about past conflict, but it is around the midway point that Bonjour Tristesse takes the form of a more typical interpersonal drama. When the backdrop doesn’t change, it puts a different perspective on all of it. The setting homes in on the shimmering concept of summer romances, both with Cécile’s first joyful love and Raymond cycling through supposedly permanent partners. We are forced to question how dependable these romances are when everything is so pretty yet so dysfunctional.

Bonjour Tristesse’s Themes Fall Flat When The Villain Of The Story Is Pretty Obvious

It’s Too Easy To Disagree With The “Lesson” Cécile Learns

Cécile is evidently much closer to Elsa and was having a summer where her coming-of-age was characterized by Raymond granting her the space to discover herself. Oddly, the teen still has moments of connection with Anne before and after the breakup. Anne is an interesting, self-made woman who has an affectionate history with both of Cécile’s parents. Eventually, Cécile comes to believe that Anne is genuinely trying to make them a family, and she just starts feeling guilty about manipulating her father — but the problem is that Raymond completely falls for it.

Bonjour Tristesse concludes on the note on the impact Anne and the whole affair of the summer has had on Cécile, leaving both her and Raymond sadder overall as they reflect on grief and love. Cécile is dealing with some regrets when the whole thing wouldn’t have happened if Raymond hadn’t betrayed both Elsa and Anne. I couldn’t sympathize with Anne when I thought she was overstepping some boundaries as a would-be stepmother. This was a season that changed Cécile’s life — as she learned lessons from watching messy adults make their own mistakes. It’s not entirely for the better and not really her fault.

The way the 1958 movie approached the plot made it seem like Elsa was a cheap fling, and Cécile was a selfish teenager who wanted to get rid of Anne to avoid having a responsible parent restricting her actions for once. This is not how the remake comes across. The setting and the drama of Bonjour Tristesse complement each other, but the finale is incongruous when the premise and the presentation seem to be on different terms. While the movie has a rich personality, it is moderately aimless and should have better established how it wanted to be different from the original.