The year 1974 is often regarded as one of the greatest in film history. Many film critics and scholars highlight classic New Hollywood pictures like “Chinatown” and the Best Picture-winning “The Godfather Part II,” quintessential auteur-driven American indies such as John Cassavetes’ “A Woman Under the Influence” and Martin Scorsese’s “Alice Doesn’t Live Here Anymore,” cult-following horrors like “The Texas Chainsaw Massacre” and “Black Christmas,” Mel Brooks’ comedy double feature of “Young Frankenstein” and “Blazing Saddles” or celebrated works of world cinema like Rainer Werner Fassbinder’s “Ali: Fear Eats the Soul” and Ingmar Bergman’s “Scenes from a Marriage.” “Céline and Julie Go Boating” also fall into the latter category, yet despite being ranked on Sight and Sound’s 2022 Critics’ Top 100 films of all time, it doesn’t receive nearly as much discussion. I consider it the best film of an exceptionally strong year.
This 194-minute fantastical comedy of errors was directed by acclaimed French auteur Jacques Rivette, known for his frenetic, dreamlike and often obscenely long films. Just three years prior, Rivette released Out 1, one of the longest films ever made, clocking in at 12 hours and 23 minutes. “Céline and Julie Go Boating” follows the titular characters as they randomly become best friends and find themselves entangled in a mysterious, looping narrative involving a haunted house where they witness and participate in a recurring melodramatic tale. As they delve deeper into these surreal events, the lines between fantasy and reality regularly blur, leading Céline and Julie on an adventure that challenges conventional storytelling and logic.
It is difficult to summarize briefly because, frankly, it isn’t primarily about its narrative. Rivette is more interested in exploring subliminal or subconscious ideas around human connection and surrealist perspective. The first thirty minutes depict Julie, a librarian, chasing after Céline, who seemingly unintentionally drops objects in front of her on the street. In Julie’s attempt to return the items, she ends up pursuing Céline, leading to a playful game of cat-and-mouse that lasts throughout the first act. After this period of bickering, they inexplicably become best friends and embark on their surreal journey.
Rivette consistently emphasizes that the tone of “Céline and Julie Go Boating” is entirely carefree, and its nonlinear narrative might not resonate with a viewer until the very end. It’s not meant to be understood in a traditional sense but rather felt, a quality I deeply value in cinema. In many critically acclaimed films, especially those released in the past twenty years, directors often seem more concerned with how the audience deconstructs the film in a metaphorical and analytical way. We’re expected to break down the cinematic components to understand the work culturally and psychologically, and only then can we indulge in its entertainment value or magic. Rivette, on the other hand, doesn’t seem to care whether his audience fully ‘understands’ what is presented before them. He cares more about the subliminal feelings the audience associates with the visuals and sounds, which to me evoke humor, impulsiveness and joy. This sense of confusion only enhances the whimsy.
Juliet Berto and Dominique Labourier, the film’s two lead actresses, give outstanding, hilarious performances. They understand the playfulness of Rivette’s tone and elevate the picture from being interesting and surreal to captivating and relatable. These two women engage in such ridiculous behaviors: they use fake psychedelics made from various household soaps and candles to convince themselves they are in other locations, inexplicably lie to their other friends and pretend to be each other in seemingly important social situations. Yet, despite this uncanny behavior, we not only love them, but always want to see what they’re about to do next. I saw Céline and Julie as completely real and believable people, and this naturalistic feeling clashed with the film’s fantastical and humorous atmosphere, making it incredibly compelling.
“Céline and Julie Go Boating” is available to stream on the Criterion Channel and can additionally be requested for viewing on Brandeis University’s Kanopy Film Library. I highly, highly recommend this unique and amazing film that is often overlooked in the context of 1974’s embarrassment of cinematic riches.
