‘Visiting Hours’ Review: Isabelle Huppert Dazzles in Twisty French Melodrama

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In both its original French (“La Prisonnière de Bordeaux”) and English translation (“Visiting Hours”), Patricia Mazuy’s latest work may seem like a prison drama at first glance, but it is not. Instead, the narrative revolves around two women who, despite their differences, are connected by their husbands’ incarceration in the same facility. Their unexpected encounter during a prison visit sets off an unusual dynamic that becomes increasingly complex as their contrasting worlds intersect. However, Mazuy’s cold melodrama ultimately fulfills its title(s). At its heart, this compact and concise exploration of class and racial tensions is about the barriers we construct between each other and the price paid for allowing others to enter our self-imposed prisons.

The unique aspect of “Visiting Hours” is that the location where Alma (Isabelle Huppert) initially meets Mina (Hafsia Herzi) doesn’t resemble any American detention center. Although it houses criminals, there’s a certain air of respectability to it. Family members leave their items in elegant lockers decorated with fruit stickers, and each visit takes place behind vibrant doors. In other words, when Mina causes a commotion due to a scheduling mistake, the whole incident seems as if it could have taken place at a hospital or a nursing home. There’s a tired receptionist and numerous uninterested onlookers. However, even as Mina intensifies the argument, the guards and staff remain unfazed.

In response to Mina’s passionate outburst, only Alma is touched. Later, when Alma spots Mina at a bus stop, she extends a ride to her. Recognizing that Mina must make another three-hour trip to prison tomorrow, Alma generously invites her to reside temporarily in her opulent residence. Hesitant about the impact of her long and demanding commute on her children, Mina tentatively accepts Alma’s kind offer.

Alma is overzealous in welcoming Mina into her life, given her apprehension and eagerness due to the presence of a new guest in her art-filled home, courtesy of her renowned surgeon husband. Within moments of their initial encounter, Alma offers Mina a job and invites her to live with them. Their relationship is peculiar and unexpected. It’s not quite a friendship, but they find common ground in their shared feelings of confinement, albeit due to different circumstances. There might be an intriguing physical connection, hinting at something more than just friendship, yet it’s difficult to define as strictly erotic. However, the relationship appears transactional in nature. Yet, their contrasting personalities soon become obvious, particularly when it becomes evident that they are both trying to escape from shadows of their pasts.

The graceful and intricate female dance is significantly enhanced by two emotionally raw performances that hint at hidden depths. Huppert’s portrayal of Alma is exceptional in its ability to exude both seductive warmth and underlying danger. The straightforward manner in which Alma welcomes Mina seems inviting, yet carries an undercurrent of potential peril. The poised elegance in Huppert’s performance as a former dancer (Alma) has a sense of fragility at its edges, hinting at something raw and unfinished. One cannot help but wonder what Alma stands to gain from this entire ordeal. Is her apparent selflessness merely a mask for guilt over past wrongs, leading her to believe she owes Mina her home and attention?

Meanwhile, Herzi skillfully portrays Mina as if she were a tangled piece of art. Her character is largely silent, hiding her feelings: a strategy developed from years of employment in service industries, and as an apparent (though innocent) accomplice to the burglary that landed her husband in prison. The botched heist continues to haunt her, with her husband’s ruthless partner in crime relentlessly pursuing her. As Mina finds herself cornered, she must make a difficult decision between her family and Alma, which sets the stage for a climactic turn that is both predictable yet unexpectedly shocking.

The climactic showdown in “Visiting Hours” is incredibly thrilling. The tense dynamic between Huppert and Herzi is disrupted abruptly. Instead of providing a straightforward resolution where one character emerges as the clear villain, Mazuy’s script, co-written with Pierre Courrège and François Begaudeau, and Emilie Deleuze, offers something more nuanced. It celebrates the strong bond these women formed while subtly hinting that their relationship, for all its strength, was destined to face insurmountable challenges.

As a movie enthusiast, I found myself captivated by the film “Visiting Hours.” The rich red hues, skillfully framed by Simon Beaufils’ intimate cinematography, and the romantic swells, thanks to Amine Bouhafa’s at times powerfully resonant score, combine to create a bold melodrama that manages to feel both nostalgic yet relevant. The intricate plot weaves the tales of Alma and Mina, a modern-day fable about kindness and the complexities of wealth and privilege. With two actresses delivering exceptional performances that emphasize their characters’ physical connections, this French film is an engaging watch from start to finish, culminating in a delightful final shot that leaves you with a smile.

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2025-03-29 01:16