A rumination on the nature of love, life, and family against the beautiful backdrop of Sintra, Portugal. In many ways, Frankie is After the Wedding’s less overwrought cousin. There are several common themes and dynamics, though the stories are driven by different stakes and pressures.
Isabelle Huppert (Greta) is the lynchpin at the center of a blended family that spans multiple marriages. Her sense of entitlement as well as her own sense of self keeps bumping up against her recognition of the realities of that complexity, but all in very quiet and introspective ways. There are few histrionics despite the tensions between people and the situation in which they are mired. It is all about the reactions and silences, which director and co-writer Ira Sachs (Love is Strange) orchestrates with great confidence.
Along with Huppert, Brendan Gleeson (Assassin’s Creed), Marisa Tomei (Only You), Jérémie Renier (Double Lover), Vinette Robinson (A Christmas Carol), Sennia Nanua (The Girl With All the Gifts), and Greg Kinnear (Same Kind of Different as Me) fill out the other main roles. Their paths are all separate, but also all reflect and intersect on Huppert’s journey and life.
This isn’t a fast movie, but it is gripping in a very quiet way. And, ultimately, it brings together its point and moments in a wonderful bit of visual metaphor that is simply presented for us to absorb and enjoy. Frankie is about life and legacy and the meaning and complications of love. It is certainly bittersweet, but manages to avoid being maudlin or at all self-righteous. It’s simply a view and point of view of a collection of lives bound by blood and circumstance. And, like Sachs other works, emotionally hypnotic through to the end.