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Yahoo
3 days ago
- Entertainment
- Yahoo
"Jane Austen Wrecked My Life" is a rom-com for book lovers plagued by reality's disappointments
With "Jane Austen Wrecked My Life," writer-director Laura Piani delivers a rom-com tailor-made for Austen devotees that centers on a modern-day echo of "Persuasion"'s Anne Elliot, a woman named Agathe (Camille Rutherford), who is loveless and yet resists the charms of her Shakespeare & Company coworker, Félix (Pablo Pauly) — except when she doesn't. Agathe harbors the romantic notion that she is living in the wrong century and struggles to finish a book inspired by a fantasy. In the grip of a serious case of writer's block, her life takes a fortuitous turn when she is accepted at a Jane Austen retreat after Félix secretly submits an application on her behalf. This twist of fate leads to a chance encounter with Oliver (Charlie Anson), Austen's great-great-great-grandnephew, and it's hate at first sight. (How Austen!) Agathe's vomiting on Oliver's shoes is not an auspicious start, nor is calling him 'unbearable, arrogant, and totally stuck up' within earshot. Never mind the moment she accidentally exposes herself to him. Of course, they are perfect for each other, but as situations prompt a détente, Félix arrives to accompany Agathe to the retreat's Ball, widening the path for romantic folly. 'Jane Austen Wrecked My Life' features many literary references and running gags to charm viewers. Piani spoke with Salon about making the film and her love of Austen. The following interview has been edited for length and clarity. 'Jane Austen Wrecked My Life' is about getting inspiration. What inspired you to write and direct this very literary story as a film, rather than pen it as a novel? I was a screenwriter for 12 years, so my language is screenwriting, and I have such a huge admiration for writers. Maybe one day I'll write a novel, but I really wanted to do a rom-com. As a viewer, I was missing the arthouse rom-coms from the '90s in England; it seemed like they disappeared. So, it was a desire to write something that I wanted to see as a viewer. It comes from my experience working as a bookseller at Shakespeare and Co., where I have been working for a long time — this place as a theater stage like in 'The Shop Around the Corner,' a place where you have so many people who like to read and who dream of writing. How do you make it with high ideals about literature and love? Agathe kind of stands in her own way, like many an Austen heroine. She is blocked personally (sexually), professionally (writing) and psychologically (she hates being in a car). I like that she is both stubborn (she won't do what she doesn't want to) and determined (she will do what she wants). She wants things on her terms. But she suffers from impostor syndrome and feels like life could pass her by. How did you conceive of her character? When I started to think about the character, I wanted to write a story about grief — a woman who is blocked and going to face her desire. That would be her journey. And I didn't want to make a rom-com about a woman being saved by a man or by love. I wanted to make a 2025 rom-com where a woman could have a dream other than finding love. So, she would not have impossible romantic expectations. I like it when characters have dreams — not just goals, but something bigger. If she is not able to write anything because she writes one chapter and feels like such an impostor that she stops, or she is not capable of falling in love or engaging with anyone because she fantasizes too much, and reality is always too disappointing, who can she blame? Then I thought about Jane Austen as a comedic way to open the path for so many impossible romantic expectations. She could be feeling that what she writes is not important enough or too light. I heard that rom-coms are a girly, cheesy genre. But it is a very political genre. When you talk about love and romance, you talk about how people live. It can be very deep and entertaining, and that's what Jane Austen did. To answer your question, how did I work on this character? I tried to blend a very modern, contemporary character's journey with elements of Jane Austen's work. 'Persuasion' inspired me the most, and Agathe quotes from the book, saying she feels it is 'too late.' I love that 'Persuasion' was written 300 years ago by a woman who had to address the fact that many women are made to feel that it is 'too late' for them. This is so modern! I built the character inspired by Jane Austen's 'Persuasion,' on Jane Austen's life, and on my own experience as a reader, a writer and a bookseller —and my own grief, because I was grieving at the time I wrote I met the actress who I chose because of her melancholy and weirdness. I love Camille Rutherford because she is not only extremely beautiful, but she doesn't care about being beautiful. She is all about physical comedy and can do all kinds of absurd slapstick. She is not precious, but she is timeless and can play in a Jane Austen book. Together, we created this character who was in my mind and became her interpretation. The more contradictions the character has, the more relatable she is. Agathe has a Jane Austen for every circumstance. Who is your Austen character? What is beautiful about Jane Austen is that you can encounter books and characters all your life and change. I feel closest to Anne Elliot myself, because of the weird mix of humor and her melancholy, which is what I tried to do with the tone of the film. But I am also Elizabeth Bennet from 'Pride and Prejudice,' sometimes. You also feature many other literary references, such as Agathe shelving Julio Cortázar's 'Hopscotch,' consulting the 'I Ching,' namedropping Octavio Paz, and more. What prompted the specific literary references, and what authors inspire you? There is one book that changed my life — it didn't wreck my life — 'The Golden Notebook' by Doris Lessing. I read it at the right age. What is so exciting and beautiful and mysterious are the encounters we have with books. You have books next to your bed or in your living room for so many years, and somehow you choose a book, and it answers so many questions or creates new ones. I am so amazed by these moments and these encounters with books. I remember being a child and being very disappointed with the idea of having only one life to live. Then I learned how to read, and I discovered you could have as many lives as you wanted because you have books. One of the most compelling, exciting experiences I had as a child was reading "The Diary of Selma Lagerlöf." She was a Swedish writer who received the Nobel Prize. She had a disability, and she was sent to the city for [therapy] and became a writer because she had a long train journey. I remember the emotion of being a child and discovering another child's diary about what it means to write. It was mind-blowing. The book I dream to adapt because of the language and story is 'Light Years' by James Salter. Everyone who loves reading has to deal with the huge frustration of not being able to read enough. It's a sickness. Can you talk about developing the comedy in the film? There is wordplay, there are sight gags (spitting llamas), there are pratfalls (in a forest), and embarrassment humor (the multiple nude scenes). Every scene features a kind of punchline — some witty, some somber. I think it is my own taste as a viewer. I became a cinephile because I discovered Billy Wilder and Ernst Lubitsch, and I never got over it. They are the masters. I love physical comedy and slapstick as much as a weird line a character would think and say out loud. I try to mix what I like about life. Comedy is about shame and what we are all trying to hide — all the things that make us poor human creatures — this is the treasure of comedy, being able to laugh about that, but it can be very sad. I love when you feel the core of comedy is a deep sadness, and it is such a catharsis to laugh about it. I looked at actors who were able to physically accommodate that. Camille was funnier and weirder and clumsier — and happier. The Ball sequence is particularly interesting because we get the entire romance without dialogue. Can you discuss the love triangle in general and that scene in particular? The love triangle is timeless. It's been done so often, but it is wonderful to explore. I love this dilemma. I wanted the ball scene to be a tribute to all the books and films we love and that we have in mind when we think about Jane Austen. I also wanted it to be the emotional peak of this love triangle. I like that it is more about the bodies and the way they look at each other, which is so cinematic. Silence brings you back to the beginning of cinema. It was a very low-budget film, so we had constraints on what we could afford, but I wanted it to be magical and fulfilling for the audience, so I wanted the camera to dance with the characters. It's the only time the camera is moving. We didn't have money for big lights. We watched 'Amadeus' and thought, "We will put candles everywhere!" We had no money to buy period costumes. A week before shooting the scene, I realized I would not be able to teach them how to dance, so I called an emergency dance teacher who taught them the choreography in four hours! Do you think, as Oliver does, that Jane Austen is overrated and limited in scope? People who say that didn't read her. It's a posture. I confess I did not like 'Emma' when I had to read it in college. I hate Emma! But 'Clueless' is the best adaptation ever! It's soo good. Emma is the only character who is unbearable to me. But Austen does make a point through that character. I'm not sure she likes her so much either. What Austen easter eggs did you hide in 'Jane Austen Wrecked My Life' that Austen fans should look for? Two things. When she is inspired after the fantasy in the Chinese restaurant, and she is writing in her room, the desk is full of Jane Austen's books, and the shadow of Austen's face is on the books. And, at the very end, when Agathe imagines the hand of her father touching her shoulder, on her desk is the big book of correspondence between Jane Austen and [her sister] Cassandra. 'Jane Austen Wrecked My Life' is now playing in theaters nationwide.
Winnipeg Free Press
3 days ago
- Entertainment
- Winnipeg Free Press
Hence the sensibility
This muted, somewhat melancholy and very French approach to the Jane Austen update (mostly in French with English subtitles, with a smattering of English) has many low-key charms. The settings, central characters and lead performances are all lovely, in an understated way. Still, considering Jane Austen Wrecked My Life is partly a love letter to writing and writers, this romantic comedy from debut French filmmaker Laura Piani is a bit patchy when it comes to story. Agathe (Camille Rutherford of Anatomy of a Fall) is a would-be novelist who works at Paris's historic English-language bookshop Shakespeare and Company. (Bibliophiles will be happy to see the bookish scenes are shot at the actual store.) Sony Pictures Classics Agathe is a would-be novelist looking for inspiration. Finding herself stalled out, both in her love life and her attempts to write a love story, Agathe compares herself to Jane Austen's Anne Elliot, the heroine of Persuasion who fears her chance at happiness has passed. This could change, though, when Agathe is pushed by her best pal, Félix (Pablo Pauly of The French Dispatch), into attending the Jane Austen Residency, a two-week writers' retreat at a beautiful Georgian house in the English countryside. Agathe finds herself experiencing some romantic confusion when Felix sees her off at the cross-Channel ferry with a surprisingly passionate kiss. This perplexity is compounded when she's picked up on the British side by the arrogant but attractive Oliver (Charlie Anson, who's done offbeat Austen before in Pride and Prejudice and Zombies). Oliver, who works at the Residency, happens to be Jane Austen's 'great-great-great-great nephew,' though he finds Austen's writings 'a little overrated and limited in scope.' Piani, who has worked mostly in French TV (Spiral, Plan B), is dealing with the gambit faced by all Austen-related projects: her film has a built-in audience, but that audience has very exacting standards. Here Jane Austen functions mostly as a hook, which might disappoint some superfans. Agathe's story holds a generalized Janeite spirit, but the specific literary references are slight. (It should also be noted that the movie is not related to the 2009 novel Jane Austen Ruined My Life by American author Beth Pattillo. Confusing!) Agathe, like Austen herself, is a doting aunt and fond sister, and like many Austen heroines, she finds herself choosing between two men while trying to figure out her own moral and emotional development. Sony Pictures Classics Félix (Pablo Pauly, left) and Agathe are just friends, or are they? There's certainly a Pride and Prejudice vibe to Agathe and Oliver's frosty initial meeting, with Oliver channelling a bilingual Mr. Darcy with just a touch of Hugh Grant's Edward Ferrars in Sense and Sensibility. And while Félix is a great best friend, Agathe worries he's maybe a bit too much like Mansfield Park's Henry Crawford, a compulsive charmer who can't commit. Still, for all the callbacks to Austen's early 1800s canon — Piani even supplies a Regency-costumed ball, with much dancing and glancing — this is a very 2020s work. Agathe sometimes feels as if she was 'born in the wrong century,' but her story is modern and French, with a lot of striped shirts, good coffee, alcohol and cigarettes — and also a bit of nudity and sex. There is some sisterhood with Bridget Jones. Agathe doesn't quite reach Bridget's level of comic klutziness, but she can be awkward and a little self-effacing. (When Félix suggests Agathe suffers from impostor syndrome, she tells him she's 'a genuine impostor.') And as with many modernized Austen heroines, Agathe is not dealing with social constraints — with not enough choice — but rather with too much choice. This especially applies to the wide-open options of what she calls 'Uber sex' and 'digital dating,' which she finds mostly involves guys tiptoeing out of her bed at night and trying not to wake her up. As a contemporary woman, Agathe is also struggling with work, in this case the writer's horror of the blank page, compounded by a past trauma she hasn't come to terms with. Sundays Kevin Rollason's Sunday newsletter honouring and remembering lives well-lived in Manitoba. This outline of Agathe's character arc sounds good, but with the film's swift 98-minute runtime, the outline is never quite filled in. Agathe's relationships with the other Residency participants, with the two men and even with herself remain vague. Sony Pictures Classics Like many Jane Austen heroines, Agathe (Camille Rutherford) finds herself choosing between two men. At one point, Agathe is arguing with an aggressive critical theorist about the purpose of literature, and she says she wants novels to reflect back to her what it means to be human. The film has bits of quiet humour, some less successful attempts at slapstick and some poignant scenes, but these beautiful moments don't quite add up to a fully developed story. Jane Austen Wrecked My Life could use a little more reflection. arts@ Alison GillmorWriter Studying at the University of Winnipeg and later Toronto's York University, Alison Gillmor planned to become an art historian. She ended up catching the journalism bug when she started as visual arts reviewer at the Winnipeg Free Press in 1992. Read full biography Our newsroom depends on a growing audience of readers to power our journalism. If you are not a paid reader, please consider becoming a subscriber. 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Los Angeles Times
24-05-2025
- Entertainment
- Los Angeles Times
‘Jane Austen Wrecked My Life' is a winning romance in which real life sneaks up on the bookish
'Jane Austen Wrecked My Life' is a catchy, provocative title for writer-director Laura Piani's debut feature, but it is a bit of a misnomer. Her heroine, Agathe (Camille Rutherford), may harbor that fear deep inside, but it's never one she speaks aloud. A lonely clerk working at the famed Shakespeare and Company bookshop in Paris, she gets lost in the love notes left on the store's mirror and complains to her best friend and coworker Felix (Pablo Pauly) that she was born in the wrong century, unwilling to engage in casual 'digital' connection. Highly imaginative, Agathe perhaps believes she's alone because she won't settle for anything less than a Darcy. Good thing, then, that Felix, posing as her agent, sends off a few chapters of her fantasy-induced writing to the Jane Austen Residency. And who should pick up Agathe from the ferry but a handsome, prickly Englishman, Oliver (Charlie Anson), the great-great-great-great-grandnephew of Ms. Austen herself. She can't stand him. It's perfect. 'Jane Austen Wrecked My Life' is the kind of warm romance that will make any bookish dreamer swoon, as a thoroughly modern woman with old-fashioned ideas about love experiences her own Austenesque tumble. While Agathe initially identifies with the wilting old maid Anne from 'Persuasion,' her shyly budding connection with Oliver is more Elizabeth Bennet in 'Pride and Prejudice.' A pastoral English estate is the ideal setting for such a dilemma. The casting and performances are excellent for this contemporary, meta update: Rutherford is elegant but often awkward and fumbling as Agathe, while Anson conveys Oliver's passionate yearning behind his reserved, wounded exterior with just enough Hugh Grantian befuddlement. Pauly plays the impulsive charlatan with an irrepressible charm. But it isn't just the men that have Agathe in a tizzy. The film is equally as romantic about literature, writing and poetry as it is about such mundane issues as matters of the flesh. A lover of books, Agathe strives to be a writer but believes she isn't one because of her pesky writer's block. It's actually a dam against the flow of feelings — past traumas and heartbreaks — that she attempts to keep at bay. It's through writing that Agathe is able to crack her heart open, to share herself and to welcome in new opportunities. 'Writing is like ivy,' Oliver tells Agathe. 'It needs ruins to exist.' It's an assurance that her past hasn't broken her but has given her the necessary structure to let the words grow. The way the characters talk about what literature means to them — and what it means to put words down — will seduce the writerly among the viewers, these discussions even more enchanting than any declarations of love or ardent admiration. If you've read any Austen (or watched any of the films made from her novels), Piani's movie will be pleasantly predictable in its outcome, but that doesn't mean it's not an enjoyable journey. It's our expectations, both met and upended, that give the film its appealing cadence. It never lingers too long and is just sweet enough in its displays to avoid any saccharine aftertaste or eye-rolling sentiment. There's a salve-like quality to 'Jane Austen Wrecked My Life,' a balm for any battered romantic's soul. It may be utter fantasy, but it's the kind of escape you'll want to revisit again and again, like a favorite Austen novel. And, as it turns out, our main character is wrong. Jane Austen didn't wreck her life, rather, she opened it up to the possibilities that were right in front of her. Katie Walsh is a Tribune News Service film critic.
New York Times
23-05-2025
- Entertainment
- New York Times
‘Jane Austen Wrecked My Life' Review: It's Not Me, It's Jane
Besides Shakespeare, no author may haunt the screen more than Jane Austen. Her novels, full of heroines who find love and usually a life lesson or two, practically spawned the romantic comedy. So no wonder filmmakers have tackled copious direct adaptations of Austen's novels — many of which are modern classics of cinema, like Ang Lee's 'Sense and Sensibility' and the six-part TV version of 'Pride and Prejudice,' with its indelible scene of Mr. Darcy emerging from a pond in a wet shirt, ensuring generations of crushes on Colin Firth. Yet Austen's novels are timeless, and thus lend themselves to modernized spins, like 'Bridget Jones's Diary,' 'Metropolitan,' 'Clueless,' 'The Lizzie Bennet Diaries' and dozens more. And there are the meta-Austen tales, stories about loving Austen's stories: 'Austenland,' for instance, and 'The Jane Austen Book Club.' The well of, and thirst for, Austenalia is seemingly bottomless. 'Jane Austen Wrecked My Life' is not quite like any of those — more of a cousin from out of town, a little different, a little more intriguing. Written and directed by Laura Piani, it's a rom-com laced lightly with 'Pride and Prejudice' overtones, and it's also a love letter to writing and reading, and to Austen, too. But there's plenty going on here that is, if not entirely original, at least not straight from Austen. Our heroine is the 30-something bookworm Agathe (a charming Camille Rutherford), who is French and lives in Paris, where she works at the storied English-language bookstore Shakespeare & Company, having learned English from her father during her childhood. (Early scenes are shot in the real bookshop, which is a fun nugget for fans of the store.) The setup has the ring of familiarity: Her best friend Felix (Pablo Pauly, suitably impish) also works at the store, and the two are chummy and inseparable. You can feel a romance coming on, but the movie isn't going to make it quite so easy for us or for them. Agathe also dreams of being a writer, but something psychological is holding her back, and she's at a bit of a standstill. The movie takes its time unpeeling those layers. Things suddenly lurch into gear for Agathe when a prank results in her acceptance to the Jane Austen Writing Residency, in England. Intimidated but also a little pleased, Agathe gathers up her courage and goes to the residency where, upon her arrival, she meets the dour and pompous Oliver (Charlie Anson). It's obvious to us he's modeled on Mr. Darcy. He's also, as it happens, Jane Austen's great-great-grandnephew, but a somewhat ungrateful one: He much prefers contemporary literature to his relative's work. Agathe and Oliver detest each other on sight, and also clearly feel a spark of mutual desire. The next few weeks will teach Agathe a lot about herself. Piani's screenplay for 'Jane Austen Wrecked My Life' walks a tricky line with mostly sure footing. It visibly fiddles with Austen's romantic and narrative conventions, the ones that have been replicated across romantic comedies for a couple of centuries: awkward encounters, declarations of love, secondary characters invented for levity, passionate glances across a crowded room. That the movie is partly in French and partly in English adds extra possibilities for comedy — always make sure the person you're complaining about on the phone doesn't understand the language you're speaking — and is a nice twist on the normally Anglophiliac subgenre. Piani's story also seems aware that the women Austen wrote about, with enough means to live fairly comfortably and take time for leisure pursuits, are going to encounter romance differently from their 21st-century compatriots. No matter how old-fashioned the heroine's tastes and preferences are, she isn't living, and can't live, in Austen's world. Fewer family and class obligations exist to throw seemingly insurmountable obstacles in the way of her happiness. She doesn't spend most of her time paying social calls in friends' parlors or preparing for a busy social calendar of balls and trips to Bath. She works, and she moves freely, and she can have sex with more or less whoever she wants. She has, in other words, choice. Yet a romantic comedy requires a choice-restricting hurdle or two to overcome. In Agathe's case, they're entirely in her head: her desire for one man or another, her ideas about romance and her self-sabotaging tendencies, as well as old hurts and traumas. Overcoming those takes work as well as some wise advice. Like many an Austen heroine, Agathe finds her moments of self-revelation to be tied up with emotional pain, but she's also ready to trek through it toward her happy ending. In the end, 'Jane Austen Wrecked My Life' is both pleasantly diverting and sneakily wise. Following in the footsteps of her beloved literary heroines, Agathe discovers a bit about real life outside of books — and not just romance, either. It is a universal truth: Sometimes to unwreck your own life, you've got to start acting like you're the protagonist.
Chicago Tribune
22-05-2025
- Entertainment
- Chicago Tribune
‘Jane Austen Wrecked My Life' review: Writing and living her own private rom-com
A pleasant, low-friction bit of romantic fiction, 'Jane Austen Wrecked My Life' is the first feature from writer-director Laura Piani. In her mid-20s, Piani worked in Paris in the venerable English-language bookshop Shakespeare and Company, a primary location in this debut project. When Piani took a job there, she'd already had her head filled as a teenager by the smart women and foolish choices, happily avoided, created by the author and life-wrecker of this film's title. The story's nice and simple. It takes its aspiring-novelist protagonist outside her comfort zone, from Paris to an Austen writing residency in England. Piani's film is, in itself, a comfort zone for viewers, the latest of many cinematic mash notes to Jane Austen, from 'Clueless' to four 'Bridget Jones' movies. Pulling from the filmmaker's life, the character of Agathe — played with untheatrical gravity and hints of a blithe spirit in the making by Camille Rutherford — spends her days among the stacks at Shakespeare and Company, sorting, helping customers, dishing with her good friend and fellow employee Felix (Pablo Pauly). He's bachelor No. 1, a bit of a cad but reasonably charming about it. His intentions may be up in the air regarding Agathe, but he looks out for her. He sneaks a look at the chapters she's written and, impressed, submits them behind her back to the Austen residency for consideration. It works, and reluctantly Agatha accepts the two weeks in the English countryside with other invitees toiling on their own projects. Earlier, in an anxious state over the prospect of finishing her novel, Agathe is pessimistic. Felix mansplains that she suffers from imposter syndrome. Her reply: 'No, I don't, I'm a imposter.' The scenario's bachelor No. 2 arrives in the brooding personage of Oliver (Charlie Anson), the great-great-great-great-nephew of Austen herself. He's no fan, though ('overrated'), which gives Agathe, the visitor he picks up at the ferry landing, something to argue about straight off. From there, Piani's film does its self-assigned work in solid if programmatic fashion, establishing a back bench of supporting characters at the residency, as well as at home in Paris where Agathe, who hasn't dated in a couple of years, lives with her sister and nephew. She's a tough nut, emotionally guarded in the wake of the sisters' parents' death in a car crash. These circumstances are layered enough to make 'Jane Austen Wrecked My Life' a little more than rom-com piffle, though there's little romantic tension in Piani's triangle since Oliver is the auxiliary Mr. Darcy here, and therefore a pre-ordained match made in literary heaven. Shot entirely in France, the movie renders its ideas of romantic melancholy and Agathe's default romantic defeatism in ways that reassure the audience every second. Agathe is either inside her beautiful bookshop, her beautiful, sunny Parisian domicile or roaming a beautiful house and grounds for knocking out a novel while your heart figures things out. Piani did the right thing in casting Rutherford, whose physical embodiment of Agathe suggests a tall, gangly, striking woman trying not to be seen. The actress leans into the character's unsettled, often sullen side, though not at the expense of the comic tropes (at one point, nude, she walks through her bathroom door, which turns out to be Oliver's room). Rutherford provides the internal friction throughout, while the generally frictionless mechanics of the movie itself hum along, with soothing sights and sounds. These include the fine actress Liz Crowther, as the Austen residency's hostess, quoting Wordsworth's notion of the best part of life: the 'little, nameless, unremembered acts of kindness and of love.' 'Jane Austen Wrecked My Life' — 3 stars (out of 4) MPA rating: R (for language, some sexual content, and nudity) Running time: 1:34 How to watch: Premieres in select theaters May 23
