For acclaimed author Marianne Winckler (Juliette Binoche), going undercover to write a story is just another day in her life. She doesn’t take the responsibility lightly but never forgets that at any moment’s notice, she can choose to throw in the towel and go back to her pristine, privileged life. This constant moral dilemma is at the core of director Emmanuel Carrère’s solid, but never quite extraordinary, new French-language drama.
In part based on the French nonfiction book The Night Cleaner by Florence Aubenas, Between Two Worlds follows Marianne’s research for her upcoming book exploring the poverty line in France. As she moves away from her home in Paris and takes on cleaning jobs to understand the realities of being a part of the working class, Marianne finds herself deeply connected with the lives of many of the workers, primarily Chrystèle (Hélène Lambert): a struggling mother of three boys.
While Marianne sets out to shed light on the impossibility of making a living in the cleaning industry, the long, grueling conditions, and all-around low pay, her deception ultimately raises questions of exploitation. At the end of the day, it’s a world that she’ll never be able to fully inhabit or be a part of.
As much as she tries to convince herself otherwise and as much as she forces herself into the world of those who have no choice but to keep on cleaning ferries, there’s always an invisible line drawn between her and her actions—even when she’s literally cleaning filthy toilets. The knowledge that this isn’t her actual life is never forgotten by the audience. All of the friendships she makes are ultimately with the purpose of getting intel and information, despite how genuine the connections may be, is a matter of fact. Without the proper past life experiences to inform her point of view (as far as the viewer knows), her act remains merely that: an act that will soon let up. And for the audience, it makes for a properly uncomfortable viewing experience, waiting for Marianne’s facade to collapse in on itself.
In this manner, Between Two Worlds intertwines its exploration of classism with the ambiguity of performance itself. The nature of storytelling and how it can transport viewers to another place, another world, and way of life entirely is its greatest gift and also its biggest liability. At what point does the act of trying to walk in somebody else’s shoes profit off of their pain? This is the current conversation happening in art that Carrère most effectively taps into—even if a bit predictably.
Binoche’s lead performance is the standout, and it’s clear just from watching that this film is a true passion project for her. She commands the screen often with the most subtle, quiet glances as she slowly begins to realize how her going undercover and the risk of the truth spilling out will ultimately hurt the people closest to her. Don’t underestimate Lambert’s incredible, courageous turn as Chrystèle, or any of the other supporting performances from the cast.
Perhaps ironically, though, the film struggles in finding its true focus. Carrère clearly made an intentional, powerful choice with the opening and closing moments reminding viewers that this narrative is really about the world of the working class people that Marianne integrates herself within. However, the story often spends moments suddenly reverting back to Marianne’s isolated voiceover, making it difficult for the film itself to fully investigate the real-world issues it’s tackling.
Bionche’s complex performance adds a layer of intrigue to Marianne that makes for a curious character study, but the audience never quite understands why she is drawn to studying this walk of life. As the script stands, Carrère wants Marianne to function both as a stand-in to explore real-world issues and as a protagonist to be studied closely through her own arc. Unfortunately, the film never successfully convinces the viewer that it gets to have it both ways.
In world cinema’s current fascination with dissecting and critiquing capitalist systems, Between Two Worlds is another worthy addition to this growing collection—along with the everlasting power of Binoche’s talent. Though within a story constantly exploring its main protagonist trying to successfully cross the line into another world, the film itself is divided between two lines—for better or for worse.
Between Two Worlds will open in theaters in New York and Los Angeles on August 11, 2023 courtesy of Cohen Media Group. The film will expand to additional markets in the following weeks.
In world cinema’s current fascination with dissecting and critiquing capitalist systems, Between Two Worlds is another worthy addition to this growing collection—along with the everlasting power of Binoche’s talent.
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GVN Rating 7
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Dedicated writer, film critic and journalist with a passion for all things film and television. A current rising senior at Ithaca College pursuing a degree in Writing for Film, Television and Emerging Media with minors in Integrated Marketing Communications and Writing. In addition to recently joining the Geek Vibes Nation team, Matt also currently writes for The Rolling Tape, The Ithacan and Buzzsaw Magazine, with past bylines in Film Updates and Cinema Solace.