VENGEANCE IS MINE

A portrait of a woman on the verge of—or maybe beyond—a nervous breakdown. (Apologies to Almodóvar!)

When Gilles Principaux hires Maître Susane to defend his wife, Marlyne, who’s been accused of the murder of their three young children in Bordeaux, the attorney spirals into a web of obsession, suppression, and uncertainty. Somewhat convinced she has met Gilles before, during the course of a childhood encounter buried deep within her psyche, Maître Susane struggles to determine whether or not Principaux is actually the teenager who may have encouraged her dormant youthful enthusiasm and intelligence, or who may have taken advantage of that enthusiasm in a more troubling fashion. Her persistent questioning of her parents about the circumstance of that episode creates tension in the family and ruptures her relationship with them. Maître Susane’s relationship with her otherwise exemplary housekeeper—an undocumented worker from Mauritius—falters as well due to the housekeeper’s secretiveness (at least in the attorney’s eyes) and her reluctance to provide Maître Susane with the documents needed to support her immigration paperwork. Caught between Marlyne and Gilles and their differing accounts of the domestic life which led up to the triple filicide, and increasingly concerned with the welfare of her own young “goddaughter-in-spirit,” Maître Susane engages in projection and perseveration kickstarted by the appearance of Gilles in her office. NDiaye, winner of the Prix Goncourt, slowly delivers scene after scene of puzzling and ambivalent behavior on the part of her protagonist but also those in her orbit. A series of startling monologues by Marlyne and Gilles set out their positions in the drama, but Maître Susane’s internal equilibrium is puzzlingly out of balance as she continually asks herself: Who is Gilles Principaux to me?

A twisty and unsettling psychological puzzle.