Colours of Time Review: A Charming French Comedy Blending Monet, Mystery, and Family
Cédric Klapisch's latest cinematic offering, originally titled La Venue de L'Avenir or The Arrival of the Future, presents audiences with an entertaining and sentimental fantasy. This chocolate-boxy ensemble picture, crafted in Klapisch's distinctive style, weaves a romantic backstory involving the legendary painter Claude Monet and the pioneering photographer Félix Nadar.
Monet Meets Mamma Mia in a Paternity Puzzle
The film cleverly constructs a Mamma Mia-type paternity puzzle around its female protagonist, Adèle, portrayed with undeniable charm by Suzanne Lindon. Set during the belle époque, Adèle embarks on a fateful journey to Paris in search of her errant mother, leaving behind her sweetheart and her rural village near Monet's hometown of Le Havre.
Klapisch ingeniously intercuts between Adèle's historical narrative and the contemporary adventures of her numerous descendants. This dual timeline structure creates a delightful cinematic experience that bridges centuries while exploring themes of family, heritage, and artistic legacy.
Modern Descendants Uncover Historical Secrets
In the present day, Adèle's diverse group of descendants—including teacher Abdelkrim (Zinedine Soualem), fashion photographer Seb (Abraham Wapler), executive Céline (Julia Piaton), and beekeeper Guy (Vincent Macaigne)—are contacted by lawyers representing a property development company. The firm plans to build a massive shopping mall that would require bulldozing Adèle's long-abandoned cottage, sealed since 1944.
This garrulous, ragtag ensemble must give their collective consent for the project to proceed. Their curiosity piqued by their unexpected inheritance, they force their way into the dusty cottage, discovering what amounts to a veritable Tutankhamun tomb of historical artifacts—photographs, personal letters, and what appears to be a valuable painting.
Artistic Revolution Meets Unsubversive Presentation
While the film revolves around the revolutionary and disruptive nature of art, it presents artists and their work through a notably unsubversive lens, one that aligns comfortably with museum gift shop sensibilities. Nevertheless, Klapisch executes the historical sequences with remarkable brio and comic gusto, particularly in the past sections featuring Lindon's captivating performance.
The descendants' detective work intertwines seamlessly with revelations about Adèle's mother, Odette (Sara Giraudeau), and her mysterious activities in Paris that funded the money she sent home. The narrative builds toward an unconventional climax where the modern-day characters experience an Ayahuasca-induced psychoactive journey, transporting them back in time to personally encounter historical cultural icons at an exhibition.
A Sweet-Toothed Cinematic Experience
The film culminates in surreal moments, including Victor Hugo making improper advances toward Céline, blending historical reverence with contemporary humor. Colours of Time demands a sweet tooth from its audience, offering a tasty, if somewhat saccharine, viewing experience that celebrates French cinematic tradition while playfully engaging with art history.
This charming French comedy successfully merges period drama with modern family dynamics, creating an accessible and enjoyable film that will particularly appeal to those with an appreciation for European cinema and artistic heritage. Colours of Time arrives in UK cinemas beginning 17 April, promising audiences a lighthearted escape into a world where past and present collide with delightful consequences.
