French film titanFrançoise Fabiangets her groove back inRose, playing an elderly widower who rediscovers life’s pleasures, much to the chagrin of her shocked and equally frustrated children.We rarely see our mothers and grandmothers as sensual beings with their own desires.Caretakers are often taken for granted and then relegated to a helpless status as time passes. That may be true for the infirm and decrepit, but those with passion in their blood can’t be tamed.Rosereminds us of what’s possible in old age, albeit at a glacial pace and sometimes melodramatic delivery.
In Paris, France, the Goldbergs, a devout Jewish family, gather for the spirited 80th birthday celebration of their patriarch, Philippe (Bernard Murat). He beams at Rose (Fabian), still madly in love with her after 40 years of marriage. Philippe begs Rose to join him for a sip of vodka as the couple are hoisted in their chairs and carried around. Rose playfully rebuffs her husband. He knows she doesn’t drink. She abhors the taste of alcohol. Their daughter Sarah (Aure Atika) notices her Orthodox older brother, Pierre (Grégory Montel), with a grave demeanor. Why does he look so upset?
Rose’s New Experiences
Rose (2025)
When Rose, 78, loses her husband, her grief inspires her to live as fully as possible. Her children disapprove, forcing them all to confront what it means to redefine oneself later in life.
Some time later, Rose sits in disbelief as Sarah, Pierre, and her youngest son, Léon (Damien Chapelle), lead medics into her apartment. They place Philippe under a burial shroud as the same relatives who laughed at the party start arriving to sit shiva. A superstitious Rose asks Léon if they should find an animal to sacrifice. He begs her to forget superstitious nonsense and rely on her faith. Rose also reminds him they’ll need luck for his upcoming criminal trial. Léon lives with his parents. They were keenly aware of his troubles.
Days become weeks with Rose refusing to answer her phone. Sarah tries to get her mother to go outside. What’s the point? Philippe did everything for them; she’s useless by herself. Sarah refuses to let Rose become a recluse and drags her to a friend’s house for dinner. Rose is stunned when Marceline (Michèle Moretti), a woman older than her, arrives to a cheer. She immediately demands a drink and rolls a joint.Rose watches in nervous apprehension as the potent ganja rounds the table and comes in her direction.
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What happens next could humorously be an anti-drug PSA about the dangers of just one toke. Rose decides to try something new and get out of her comfort zone at a point where depression has led to rock bottom.A WTF attitude unleashes something deep inside that had been bottled up for decades, even in her happy marriage to Philippe.Rose finally exhales in a cloud of smoke that clears the air from her fog of uncertainty. She’s still alive and with a pulse, but what kind of existence could she have on her own?
Aurélie Saada, a veteran actress making her feature directorial debut, employs a cinéma vérité, slice-of-life approach to Rose’s mental and physical awakening.The characters are shot up close and personal in group ensemble scenes that slowly develop over long periods. What’s said isn’t out of the ordinary. The birthday, funeral, dinners, and parties make natural progressions to drive the story. Rose’s tight-knit circle of her children and close friends are concerned as a grieving turtle starts to come out of her shell. Irony abounds as they want her to find happiness but on their terms. Mom putting on lipstick and hitting the town wasn’t expected.
Age Is Just a Number
The film loses focus as heavy subplots involving her children’s frailties overtake the narrative.There’s a lot going on with the supporting characters. Saada wants the audience to understand that Rose’s offspring see her in a specific light. They use the ideal of their mother as a crutch for their own problems. Rose is keenly aware of this and desperately wants them to break free from her apron strings. They need to find their own paths, but not at the expense of Rose’s primary arc, which is certainly more interesting.
Fabian, a staple of French movies and television since the late ’50s, can still command the screen with a formidable presence. You feel the weight of her grief lifting as Rose learns she still has more to learn and offer.This goes in a predictably carnal direction, but it’s more realistic than something likeBabygirl, a Harlequin romance shag fest.Saada allows Rose to seek intimacy after she correctly concludes her needs deserve to be met. Age is nothing but a number if the fire still burns.
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I did get a kick out of the distinctly French filmmaking and cast expressions.Shots lingering on scrumptious desserts, red lipstick sipping wine, and glimmering lighting add vibrancy.Roseis also a fascinating study of Jewish cultural traditions. Religion and ceremony play a big part without being boring or preachy. That said, the pacing is uneven and patience is required for dull stretches. Rose takes a while to get going, but you always empathize with a likable protagonist.The final shot is quite brilliant, so keep your eyes glued until the credits roll.
Rosehas French dialogue with English subtitles. It is a production of Silex Films, Germaine Films, and France 3 Cinéma et al.Rosewill have a limited theatrical release on January 24th with a larger rollout following from Cohen Media Group.
