‘Colours of Time’ Review: Cédric Klapisch’s Genial, ​Dual​-Timeline Crowdpleaser​ About Art and Ancestry

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It’s unfortunate that the English title of Cédric Klapisch’s charming, nostalgic then-and-now drama doesn’t carry the same layers of meaning as the French version. Not only does “La venue de l’avenir” (which means ‘the coming of the future’) roll off the tongue more cheerfully, it also contains nuances that are lost in the comparatively straightforward title “Colours of Time“. For instance, there’s a play on words between “La venue” and “L’avenue” (road), which references a scene showing Paris from Montmartre hill as the electric lights first come on along the Avenue des Champs-Élysées. However, it could be argued that

A group of around several dozen individuals, all descendants of Adèle Meunier, have been summoned to a gathering in Paris to discuss the forgotten farmhouse in Normandy that belonged to their ancestor – a property none of them were aware of beforehand. To evaluate its contents, they elect a team, consisting of enthusiastic young photographer Seb (Abraham Wapler), organized and efficient businesswoman Céline (Julia Piaton), outgoing social butterfly beekeeper Guy (Macaigne) and Abdel (Zinedine Soualem), a nearing-retirement high school French teacher. Upon arrival, they unearth, scattered across the dusty tables and decaying walls of Marie Cheminal’s impressive set design, a collection of old photographs, letters, and paintings. Stirred by this discovery, Seb retires to sleep, possibly to dream, as the story requires Klapisch and Santiago Amigorena’s script to introduce the time-traveling part of the narrative.

1895 finds Adèle (portrayed by Suzanne Lindon with an elegant mix of contemporary and old-fashioned charm) leaving her countryside home after her grandmother’s passing to track down her mother in Paris. On her journey, she crosses paths with friends Lucien (Vassili Schneider from “The Count of Monte Cristo”) and Anatole (rising star Samuel Kircher, who was also at Cannes for “Wild Foxes”). Anatole is an artist, a field that Lucien humorously teases will soon become obsolete. However, inspired by the Impressionist movement that had emerged a few decades earlier with Claude Monet’s famous sunrise, the French art scene flourished during the Belle Époque, allowing Klapisch to imagine even Adèle’s simple life as brimming with famous figures. Names like Sarah Bernhardt, Victor Hugo, Pierre-Auguste Renoir, Monet, Felix Nadar, and more make appearances, although some of these encounters are partially justified by being part of a shared hallucination experienced by Seb and Céline when, in an unexpected twist, the modern-day group all consume ayahuasca.

In a lavishly decorated Paris brothel, Adèle encounters her mother, Odette, skillfully portrayed by Sara Giraudeau. Initially taken aback by this encounter, given her provincial background, Adèle eventually accepts and even grows fond of her mother. As the story unfolds, Adèle’s experiences parallel those of Odette, but their bond deepens further as various aspects of Adèle’s life resonate with them. These shifts between past and present can sometimes feel awkward, yet at other times they are heartwarmingly poignant, such as when an old letter is both dictated and written, received and read, and rediscovered (and only partially understood) in the 21st century.

Klapisch skillfully weaves together two timelines, however, his attempts prove futile when it comes to capturing the intrigue of the past, particularly Lindon, who exerts an irresistible pull. Alexis Kavyrchine’s photography imbues late 19th-century Paris with a soft, romantic feel, but this warmth fades in the contemporary scenes. Conversely, Pierre-Yves Gayraud’s costuming revels in the elegance of bygone eras like bustles and bonnets, contrasting sharply with today’s iPhone accessories and athletic wear. Nevertheless, the characters from previous generations are given their own share of minor dramas, such as Abdel’s tender courtship of a captivating art historian (Cécile de France) and his internal struggles over retirement, and Seb grappling with both professional and romantic dilemmas. The young man stands at a critical juncture, torn between the allure of superficial, glamorous wealth, or staying true to his emotional and artistic inspirations. Unsurprisingly, he chooses the latter path, aligning with the film’s goal of providing delight rather than shocks. The numerous, largely conflict-free narratives are endearing enough to keep the lack of tension from becoming an issue.

To be honest, the movie’s late attempt at a grand revelation about the clan’s new prominent heritage feels somewhat disappointing, considering its overall ability to give worth and respect to lesser-known lives filled with excitement and vibrancy. It doesn’t imply that there’s anything excessively controversial about “Colours of Time,” as it lands softly on the resolution – comfortable and homely in its connection to once groundbreaking art, much like a Mona Lisa tea towel – suggesting that perhaps the true undiscovered masterpiece was the people (and extended family) we encountered throughout our journey.

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2025-05-27 18:16