‘Ari’ Review: An Intimate, Energizing Character Study of a Teacher With a Lot to Learn

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As a cinephile, I find it fascinating when characters lack a clear-cut objective or plan, like Ari from Léonor Serraille’s captivating third movie. The uncertainty of his next move keeps me on the edge of my seat because he seems just as unsure as I am. Ari’s aimless wandering mirrors the quarter-life ennui that characterized Serraille’s 2017 debut, “Jeune Femme,” a Cannes Camera d’Or winner that drew both positive and negative comparisons to Agnès Varda and Lena Dunham. While “Jeune Femme” was vibrant and energetic in its portrayal of youthful malaise, “Ari” softens the brightness to present a more somber narrative centered around a young, drifting trainee teacher.

Despite the contrast, the movie remains just as invigorating. As Ari struggles to regain his footing after a career-halting personal collapse, he learns that everyone has their life in pieces, making “Ari” a hopeful yet unsentimental tribute to making do with what you’ve got. Debuting at Berlin Film Festival in competition, this unconventional, skillfully constructed character study is low on traditional plot but keeps viewers engaged through gradual disclosures that seem more like a person reflecting on their past and present rather than a contrived narrative trick. Following her charming, underappreciated sophomore work “Mother and Son” (which blends classical elements with her latest effort), it underscores Céline Sciamma’s compassionate, unique perspective and disregard for typical story arcs.

The narrative commences with a heartfelt scene of deep-seated mother-son bond, filled with intimate close-ups of faces, eyes, and locks of hair. A woman explains to her joyful young son, Ari (whose name was chosen in honor of the son of French artist Odilon Redon, symbolizing an unexpected midlife transformation), the story behind his unique moniker. Fast-forwarding through two decades, we find ourselves with Ari (played by Andranic Manet) – a 27-year-old, gangly and unkempt – struggling to inspire poetry within a boisterous and inattentive class of primary school students. As tension mounts, our hearts race alongside his, as he loses grip on the classroom, succumbing to an unimpressed evaluator’s gaze, ultimately collapsing in defeat. Upon receiving medical advice for a break from work, Ari comes to the realization that a career change might be necessary.

It’s revealed that his mother is no longer alive, leaving him without the comfort of her care, while his father, portrayed brilliantly by Pascal Reneric, provides him with firm guidance at best. Father scolds Ari, commenting on his generation being sick, as he criticizes Ari for squandering three years in teacher training and a failed romance. This criticism, though seemingly harsh, appears more cruel upon initial glance, but as we delve deeper into Ari’s past, it becomes clear that the breakup with Irene had a profound impact on his life – its traces visible in his mental health instability, romantic choices, and career decisions. Manet’s performance, soft yet tense, beautifully portrays a man who struggles to live fully in the present due to dwelling on past experiences and potential ones. Only when he repeatedly gazes upon his favorite painting, Carolus-Durand’s “Sleeping Man,” in a museum in Lille, does he find focus and relaxation.

After being kicked out from his father’s house, Ari finds himself spending time on various friends’ couches. This period forces him to reconnect with friendships he had neglected, but he soon realizes that most are unable to assist him in rebuilding his life. One childhood friend, Jonas (portrayed by Theo Delezenne in a powerful, piercing performance), has transformed into a slick, conservative financial broker, while their discussion reveals the class divide that has always been present in their relationship. Ari’s friendship with Clara (Eva Lallier Juan) is more bohemian, but she surprises him with her shift towards bitter nihilism. It seems Ari may have a brighter perspective on life than he thought; his interactions with both strangers and old acquaintances help him remember his role in the world and reignite his sexuality, which appears to be adaptable.

In a unique way, young men are seldom portrayed with such tender exploration as seen in the movie “Ari”. Instead of being sidelined or overlooked, Ari’s character is delicately examined, revealing many raw vulnerabilities and self-destructive behaviors. This examination is done with a blend of openness and caring that feels similar to a parental concern. The cinematography by Sébastien Buchmann also plays a significant role in this tenderness, as it often focuses closely on Ari’s sensitive, finely drawn facial features, revealing both affection and the critical eye of an artist or psychologist. Despite this close scrutiny, certain aspects of Ari remain a mystery to us and even himself, leaving “Ari” as a promising work-in-progress.

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2025-02-15 18:16