Humidity in Central America is hot and tense, and the same can be said of the romance of Trish (Margaret Qualley, tailor-made for Denis’ eye) and Daniel (Joe Alwyn, plan C after Taron Edgerton and Robert Pattinson had prior commitments) in Claire Denis’ beguiling Stars at Noon. They share a tragic belief that what they have is real, despite how little they trust each other and the political conflict in the background. Trish is more than capable of having an independent life in a foreign country (albeit with a vanishing journalism career) without Daniel drifting with her through purgatory. An escape out of the country does not mean all problems are solved for Trish; she is not needed anymore by her boss (an unamused John C. Reilly), and it does not look like Nicaragua wants her much either. Oh, and the Pandemic is going on.
Vibes take priority in the young lovers’ chemistry with one another. Qualley’s mannerisms and Alwyn’s smoldering charm mix much better than expected in a time in their lives when they do not know a love language like communication. The film has been compared to Peter Weir’s A Year of Living Dangerously, the Sigourney Weaver/Mel Gibson-starring romance/political thriller. With this influence in mind, Denis’ decisions become clear, yet the film is still unmistakably Denis. She continues to pursue a fascination with the relationship between the human body and our location; it is no different here, with the fans circulating through their hotel rooms in an exotic location where they are not on the run, but trying to leave.
Claire Denis’ focus on people connecting with each other through intimacy has been a career throughline, especially in her confident late-period work. Here, it is DP Eric Gautier’s camera that lingers on Trish and Daniel’s sensual chemistry instead of speaking their hearts’ desires to each other. Even then, Trish and Daniel’s communication with each other and the world around them comes off as awkward and out of their element. It also helps that the slick new score from Tindersticks makes these two lovers fit in this confusing country in a languid time.
When Trish and Daniel make a run for the border near the film’s conclusion, it plays more like a fleeting romance than two untrustworthy tourists. When a CIA operative (a reliable Benny Safdie) pursues Trish to become closer to Daniel for information, she is not threatened by him, but he sees right through Trish. She is woefully unfit for the people she comes across, and Daniel relates to this even when faking an identity. It is partly why Denis is so good at focusing her films on younger people (Nenette and Boni, Trouble Every Day) and the insecurities they exude. Stars at Noon might be polarizing now, but it is bound for reclamation, especially as her late period work begins to unfold. Its contemporary setting, mixed with Denis’ eye for tension and passion, works wonders with Qualley’s magnetic presence. For Claire Denis, the future is still uncertain, even after fifteen feature films.
Stars at Noon
2022
dir. Claire Denis
135 min.
Opens Friday, 10/14 @ Kendall Square Cinema
