Rebecca Zlotowski’s “A Private Life” is about a counselor investigating the mysterious death of one of her patients. Foster plays a woman unraveling after the death of a client, obsessed by the question of whether it was suicide, murder, or something else. A follow-up to Zlotowski’s very underrated “Other People’s Children,” the film continues her interest in interior lives, though here the emotional terrain is far messier and less long-lasting. Her psychological spiral makes her feel disconnected from the people in her life, as she obsessively replays the recorded sessions of the deceased patient. A lot of paranoia and a little absurdity creep into her daily life. She reaches out to her ex-husband to process what happened.
Jodie Foster commands every moment of her screen time, making her the film’s strongest element, which is as French as it is a drama. Her captivating performance and genuine unease are heightened by the hostility of the patient’s family, who blame her for her death, manifesting in accusatory glances and an outburst at her funeral. This moment makes her feel isolated and is the core of the film’s emotional imbalance, placing her cut off from meaningful connection. Even when the film feels uncertain about what it wants to be, Foster remains grounded in its tone, and it is worth watching for her alone.
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The movie’s tonal shifts fascinated me as I tried to keep up with how it changes between different genres, including psychological thriller, noir, and dark comedy. That unevenness was perplexing for me, but it’s also where the film is the most unpredictable. A moment that has stuck with me is when the film visually mirrors her confusion through surreal dream sequences repeated a few times and set in an orchestra, where Foster plays an instrument. These are both baffling and hypnotic. A touch of The Holidays in the third act adds further tonal dissonance, clashing sharply with the film’s emotional coldness, which is as unbearable as a chilly winter.
Ultimately, “A Private Life” remains uneven, veering between genres in a way that may frustrate viewers seeking clarity in a murder mystery, but it honestly presents its confused protagonist. Anchored by Foster’s layered performance and Zlotowski’s tonal shifts, the film’s mood is its own character, stuck in an unresolved state, where paranoia and a strain of dark humor make it feel slightly off, both intentionally and unintentionally.
A Private Life is now playing in limited release.
