Both Sides of the Blade (Denis, 2021)

Both Sides of the Blade (previously Fire) begins with a conventional scene of two lovers swimming. As the sun glints off and pierces through the blue ocean, bodies turn and touch conveying simple pleasure.

It’s about the only uncomplicated scene in the film, and it is telling that it comes at the very beginning rather than in the middle or near the end where it would be a visual affirmation of the characters’ relationship arc.

The film almost immediately begins deconstructing its opening. We learn that the lovers, Sara (Juliet Binoche) and Jean (Vincent Lindon) met when both were with other partners. The qualities that attract them to one another are not necessarily sufficient to erase the problems and faults that led to stress in those other relationships. As jealousy simmers (particularly for Sara), we are left to contemplate whether the opening moments of bliss were born out of mutual passion that can sustain them through problems or were simply part of a stage in the inevitable arc of all relationships. We may also wonder, especially given an early speech, whether Sara wants Jean or just an idealized relationship where she has agency and is an object of desire.

To prepare for Both Sides of the Blade, I rewatched Denis’ class Beau Travail. In that film, passion is implied more than expressed, and I have long wondered how those unfamiliar with that film’s literary subject material could understand what is going on. Both Sides has the trademark Denis opacity, but the scenario should be more familiar to those watching. Will the familiarity of the narrative setup be enough to capture a broader audience for a Denis film? Probably not. But for those already attuned to Denis’ favored themes, the film offers an arthouse alternative to the Summer landscape of fighter pilots and cartoon characters.

Both Sides of the Blade opens in US theaters on July 8, having played most recently at the Berlin Film Festival.