Sightlines · how to watch
How to watch Summer Hours
2008 · Olivier Assayas · Summer Hours on Sightlines
5 things to watch and listen for on a first viewing, without spoilers, and 3 more once you have seen it. Each names something you can see or hear, the pattern it belongs to, and what noticing it gives you. How these keys work.
On a first viewing
Watch the camera move with people through the rooms. (camera)
Eric Gautier's handheld camera stays close to bodies and furniture as characters move through the house, keeping objects and people in continuous contact.
Payoff: The furniture and paintings read as participants in the scene, not just decoration.
Watch hands touch, wrap, and appraise the family's belongings. (setting)
Assayas stages his actors in constant negotiation with real objects, a vase, a desk, a panel, handled, valued, and eventually packed away.
Payoff: The things in this house are being treated as characters in their own right. In the reading: cinema of the body / attitudes & postures. Deleuze calls this attention to ordinary hands and gestures a cinema of the body, duration carried by posture instead of dialogue.
Listen for birdsong and garden noise instead of a score. (sound)
There's no conventional underscore, just observed ambient sound, birds, a family meal, telephone calls, with songs surfacing only occasionally at the film's turning points.
Payoff: The quiet itself is carrying the film's feeling instead of music doing it for you.
Watch Frédéric's face for grief he never puts into words. (performance)
Charles Berling carries his character's ache through glances and small concessions rather than outburst, an ensemble directed toward understatement throughout.
Payoff: The performances trust you to read feeling in small gestures, not big speeches. In the reading: voyant (the seer). Deleuze calls someone who can only watch a situation he can't change a seer, unable to act on what he's witnessing.
Watch the warm greens and golds of the house and garden. (light)
Gautier's early scenes favor a warm, summery palette inside the house and out in the overgrown garden, golden light throughout.
Payoff: The warmth makes this house feel like somewhere worth holding onto.
Once you have seen it
Watch Éloïse choose which object she wants to keep. (setting)
Offered a keepsake, the housekeeper picks a glass vase she assumes is ordinary, the exact Bracquemond piece the family knows is valuable and already promised to a museum.
Payoff: Neither way of seeing the vase is declared true, and that's exactly the point. In the reading: demark. Deleuze calls her mistaken guess a demark, the anomaly that breaks habit and reveals two incompatible ways of seeing the same object.
Watch the light turn cool and flat once objects reach the museum. (light)
The warm greens and golds of the house give way to a denatured, institutional light behind glass, the same desk now roped off rather than written at.
Payoff: The desk gets preserved by losing the very use that made it matter.
Watch the teenage party flood the house in its final scenes. (structure)
The soon-to-be-sold house fills with grandchildren, loud music, and a night of careless possession, and the camera loosens along with the room.
Payoff: Life doesn't mourn the house, it simply moves on into hands that value it differently.
Carry this in: Watch hands touch and pack the family's objects, and listen for the quiet instead of music.