- Date of Release: 09 June 2025
- Genre: Drama
- Language: English
- Watch On: Tribeca Film Festival
A Second Life
Introduction
There are contrasting emotions in play at the start in the new English film A Second Life. When you are first introduced to Elizabeth (Agathe Rousselle), you see her literally lost (mentally speaking) in the city of Paris. In a scene, you see her blankly staring on the streets, just as mobs of people cut-through her. This emotion is sharply contrasting to something that you would associate with Paris, a city that is known for its vibrancy. And Paris is at its vibrant best given that the drama is set against the backdrop of the Paris Olympics. Yet, the zeal that you would associate with an individual during that time of the year, is completely missing in Elizabeth. On probing further, you do notice that Elizabeth has been suffering from a bout of depression following her breakup, that almost pushes her on the verge of suicide. In a scene, you see her feeding in a ChatGPT query on the simplest way to commit suicide, thankfully for the AI code to refrain from showcasing results. Yet, little does Elizabeth know that her life is about to change in the most unexpected manner possible.
Story & Screenplay
The drama in A Second Life is gently coded in a Before Sunrise (1995) setting. Interestingly given the modern setup, the chances of two strangers practically taking time out to talk in the generation of smartphones remains bleak. And things are even tougher for Elizabeth, given her taxing job that warrants her to act as a concierge in order to rent her clients apartments at double the price, in the wake of the Paris Olympics. Additionally, there is also an angle of hearing impairment that plagues Elizabeth, further pushing the boundaries of her being socially reserved, even while having to don a fake smile and interact with her clients. Elizabeth is a character that hasn’t yet fallen in love with the city, while having stopped appreciating the beauty of smaller things in life. This, until Elijah (Alex Lawther) enters her life!
Elijah is a character who is diabolically opposite to Elizabeth. He is infectious and charming with his energy, with a special ability to befriend strangers at the drop of a hat. The fact that both characters are polar opposites of each other, automatically qualifies for an interesting dynamic between them that reminded me of Jesse and Celine from the Before Sunrise universe. This, except that Elizabeth and Elijah remain platonic with their interactions.
You witness a sense of annoyance on the part of Elizabeth even while she has to bear the antics of Elijah, who is seemingly overfriendly in her eyes. He is content with following her, even as Elizabeth mistakenly assigns him an apartment that is already assigned to another guest. The social anxiety mixed with depression act as occupational hazards for Elizabeth, with its byproduct being having to be nice with Elijah, who in turn starts befriending strangers in front of her. But there is more to Elijah while having practiced psychology – he recognizes the social shortcoming of Elizabeth, who up until then doesn’t wish to dwell on the fragrance of the flowers, or the beauty of the lake, by volunteering to push her horizon towards life.
There is a philosophical undercurrent running through the veins of the drama, that depicts a lasting way of having life pull you towards it once again, in the most unexpected manner, at the most unexpected place, with the most unexpected person. It is the magic of transformation from a stagnant mundane life to something more happening, atleast in the moment, as experienced by Elizabeth who goes on a fun trail with Elijah and his gang. Suddenly, the loss of her hearing aid, or the pressures of her job involving keeping her clients happy doesn’t matter to her. It is all a trance or more specifically a meditative state that she experiences after a long time, that makes her fall in love with the city all over again. There is a momentary hiccup in the pre-finale that doesn’t quite justify Elizabeth’s sudden outburst, but the finale does give you a glimpse on how Elijah and Elizabeth are essentially similar people at different junctures in lives, tied by a past of depression that gives them an opportunity to be friends. The easy and free-flowing drama is charmingly wrapped in a meditative screenplay that acts as a therapy in many ways.
Dialogues, Music & Direction
The dialogues are conversational with different levels of energy, symbolizing the two contrasting personalities of the two characters, while making for a therapeutic watch with its life philosophies that it wishes to dwell on. The BGM is soothing, almost allowing the viewers to imbibe the natural streak of the buzzing surroundings through its impeccable sound design. The cinematography is intimate but phenomenally allowing the city of Paris to play a silent bystander in the drama. The cultural references extend mostly through its streets that automatically contribute to the vibrancy of the drama, adding a third layer of charm to the proceedings (following the personalities of its two leads). The editing is crisp and sharp keeping its runtime under 80 minutes, while maintaining the breezy nature of the drama to perfection. Director Laurent Slama manages to tap into the internal conflicts of Elizabeth rather well, even while creating a contrasting ambience around her. There is this inherent charm that laces the narrative, even as the focus remains on the dynamics of the two protagonists. The director exploits these aspects wonderfully well, making for a wonderful piece of art.
Performances
The performances are wonderful by the members of the cast. Suzy Bemba and Jonas Bachan exude of an exuberant energy that easy make them affable characters laced with affection. Alex Lawther as Elijah is vibrant as ever and puts forth a wonderfully charming act that makes you want to resonate towards him. His calming presence and a soothing philosophy makes him a winner of a character, while being played to perfection by him. Agathe Rousselle as Elizabeth (in a role drastically opposite to that in Titane (2021)) has a proper character arc to play with. She uses her steady body language and expressions perfectly to reflect on her depressive stint in the film, while remarkably maintaining a poise of a closed personality being forced to interact with people. Yet, her affinity to adapt to the shifting tide of the drama is commendable, accounting for a deep set of emotions to erupt in the most gentle manner possible. She is brilliant to the core here, in a performance that will eventually put a smile on your face.
Conclusion
As a part of our Tribeca Film Festival coverage, A Second Life is a charmingly meditative and therapeutic tale on second chances, unexpected friendships and the searing philosophy of life that makes for a wonderful watch.
