The Lady in the Car with Glasses and a Gun

The 2015 psychological thriller, The Lady in the Car with Glasses and a Gun, offers a whirlwind journey through the mind of its tormented protagonist, tangled between reality and illusion. This tantalizingly enigmatic French-Belgian film features an alluring cast led by Freya Mavor, Benjamin Biolay, and Elio Germano, and is directed by Joann Sfar, known for his artistic and symbol-laden style.

The film follows Dany Doremus (Freya Mavor), a seemingly ordinary secretary submerged in the world of 1970s Paris. Dany works for Michel Caravaille (Benjamin Biolay), a shrewd businessman with ambiguous motivations. One day, when Caravaille has to leave town, he entrusts Dany with a seemingly simple task – to deliver his Thunderbird car home. Dany inevitably deviates from the single instruction provided by her boss and decides to take a short coastal vacation in the luxurious vehicle. The resultant journey embarks her onto a hall of mirrors maze of memory, reality, and possibly crime. This spontaneous decision triggers a chain of events that suspend Dany between the stressful world of her past and the enigmatic mysteries of the present.

As Dany weaves her way down the sun-kissed Riviera, she encounters the enigmatic stranger, Elio Germano (Georges), and a series of bewildering experiences, each more disorientating than the last. Sfar's film creates an atmosphere of suspenseful unease around Dany's journey: everywhere she goes, people seem to recognise her, although she has no memory of ever meeting them. The narrative’s psychological aspect gradually grows darker, sucking Dany further into an increasingly confusing spiral.

Freya Mavor's performance as Dany captivates, revealing fear, bewilderment, and determination. Boldly adapting to the chameleon-like nature of her character, Mavor confidently embodies Dany's disturbing and disoriented perspective, preventing viewers from distinguishing between reality and the workings of her unstable mind. Opposite her, Benjamin Biolay excels as Michel Caravaille, personifying the quintessential suave businessman with a potentially sinister twist. Elio Germano’s portrayal of the enigmatic Georges adds yet another layer to the plot’s unfathomable nature.

Sfar, who wrote and directed the film, combines a taut storyline with innovative visual clues and a bold color palette that mirror the protagonist’s unraveling psyche. As an adaption of the 1966 novel by Sebastien Japrisot, Sfar stays true to the original's complex themes while infusing it with his unique vision and eerie tone. Cinematographer Manuel Dacosse employs an aesthetic reminiscent of film noir. The film’s sharp editing and cohesive narrative contribute to the mounting tension and unpredictability.

The direction utilizes inventive visual symbols and evocative color schemes to build momentum and signal shifts in mood and perspective. Sfar’s penchant for symbolism is noticeable, with a recurrent blue theme that connotes the various emotions Dany goes through: tranquillity, depth, stability, and sadness. These elements coalesce to produce a thrilling, mysterious, and, at times, unsettling cinematic experience that is as bewildering as the narrative of Dany's journey.

The Lady in the Car with Glasses and a Gun plays with the conventions of the mystery genre, using them to dissect the nature of memory and identity. The centralisation of a female protagonist struggling with her state of mind adds a feminist twist to the traditionally male-dominated thriller genre. Compounded by an exceptional cast, moody cinematography, and avant-garde direction, this film presents a modern interpretation of the psychological thriller, making for a captivating watch filled with endless questions.

Sound scored by Agnes Olier, the music perfectly aligns with the film's tonality, accentuating the suspense and aura of mystique surrounding Dany’s spiralling journey. The '60s-style sound design endorses the feelings of anxiety and mystery, further adding to the overall enigmatic atmosphere. Every aspect of this film thoroughly pushes the noir-thriller envelope.

The Lady in the Car with Glasses and a Gun is a stylishly compelling film that demands viewers to look beneath the surface. It’s a commendable endeavor from director Joann Sfar to revive a classic novel while promotion of subtle commentary on themes like identity, memory, and the frightening possibilities of the human mind.