Viva la vie

Viva la vie, an enthralling French film from 1984, boasts a host of heavyweight talent, including Charlotte Rampling, Michel Piccoli, and Jean-Louis Trintignant. Directed by French filmmaker Claude Lelouch, the film navigates an intriguing labyrinth of emotion, identity and existentialist themes all wrapped neatly within a striking narrative concerning the boundaries of reality.

The film commences with the introduction of two main characters: successful product designer Édith Fagnelli (Charlotte Rampling) and her husband François Gauthier (Michel Piccoli), a seasoned, sardonic journalist. Their established Parisian life delivers all the trappings of success, but their marriage subtly, yet vividly, quietly approaches an existential crisis. This is not a tale of a crumbling marriage, but more carefully delves into the isolation, ennui, and resentment that can simmer beneath the surface of seemingly perfect lives.

However, Viva la vie's narrative is far from straightforward. The meandering storyline soon introduces another protagonist, the suave industrialist Jacques Kaminsky (Jean-Louis Trintignant), and the film takes a metaphysical pivot towards a curious exploration of realities. Simmering beneath the marital drama and existential crisis, the film gently unfolds an undercurrent of unusual events that makes audiences question the very nature of reality and forces characters to confront their perceptions.

The surrealist elements are not confined to the film's daring narrative. The cinematographical choices support the movie's unusual tonal sidestep, emanating an almost dream-like vibe. Lelouch's consistent style of using overlaps and split screens creates a visual interplay between what's real and what's not, subtly reinforcing the film's enigmatic theme. This visual device is a testament to the integral role cinematography plays in this deeply psychological film.

What stands out in the film is the performances of the celebrated trio. Charlotte Rampling delivers a strikingly nuanced performance, essaying a woman on the border of a personal and apparent crisis. Michel Piccoli, as a cynical journalist slowly losing grip of his reality, showcases an array of emotions with his stellar performance. Jean-Louis Trintignant, as the enigmatic Kaminsky, adds a dignified charm to his character, acting as a perfect counterbalance to Piccoli's character.

The film’s defiance of a single narrative thread and its continual flirtations with the boundaries of reality might suggest a piece that could quickly become muddled or confusing. However, Lelouch masterfully orchestrates the progression of the film, allowing the audience to calmly question the validity of the characters' perceptions without losing track of the underlying storyline. This elegant blend successfully artfully maintains a fine equilibrium between narrative clarity and thematic ambiguity.

Another critical aspect of Viva la vie is its potent socio-political undercurrent. Amid the film's fascination with the blurred lines of reality, one can find a nuanced critique of the media and their role in shaping our perceptions of reality. François Gauthier, being a journalist, is the avatar symbolising the perils and powers of media, revealing the occasional mirage media can generate.

The title translates to "Long Live Life," and the film seems to encapsulate this sentiment both subtly and subversively. Yes, the plotline traverses the bleaker parts of existence– busted relationships, existential confusion – however, amid such unraveling, there's a firm assertion of life's vibrancy. Viva la vie is not a conventional portrait of life, but it is a remarkable piece of cinema that finds a way to celebrate life even in its most disorienting moments.

Melding together avant-garde film techniques, mature performances, and thematic depth, Viva la vie is an unforgettable cinematic experience. The unraveling journey of the three central characters serves as a rich exploration of the human psyche, existentialist angst, and the relativity of truth. Throughout this intellectual film, the director demonstrates his knack for harmonising complex themes with engaging storytelling creating a potent blend of art-house cinema and relatibility. Each viewing will likely raise new questions and offer fresh interpretations for the audience to contemplate long after the credits roll. Viva la vie is a celebration of life's surreal and mysterious tree, indeed an extravagant film for anyone fascinated by artistic cinema and philosophical explorations.