‘A Second Life’ Review: Agathe Rousselle, Star of Palme d’Or Winner ‘Titane,’ Carries a Compellingly Off-the-Cuff Paris Movie

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Movie creators, similar to the characters they portray, may occasionally gain insights from their own errors.

It’s true that Laurent Slama, a French director who started out as a DP, demonstrates significant progress with his latest film “A Second Life,” surpassing his initial work on Netflix under the alias Elisabeth Vogler, titled “Paris Is Us.” Both films display similar themes and narratives, focusing on a young woman in Paris and utilizing real individuals and sites extensively, seemingly without formal permission from the city.

However, unlike Slama’s initial film that appeared overindulgent and without purpose, this one stands firm due to a captivating portrayal from Agathe Rousselle, known for her role in ‘Titane’. She plays a Franco-American character with a strong personality, struggling financially as the 2024 Summer Olympics commence. Compact yet poignant, and boasting an excellent supporting act by Alex Lawther (from ‘Andor’), ‘A Second Life’ effectively sidesteps many of the stereotypes common in Paris-centric dramas while maximizing the City of Lights’ potential.

The movie was filmed and edited by Slama amidst a complex maze crowded with tourists, spectators, revelers, and a substantial police presence. The summer games, referred to as the “games” or even more colorfully as “fucking games” by protagonist Elisabeth (Rousselle), serve as both a setting and a significant character in the narrative. Elisabeth, who works for a concierge service providing luxury apartments to demanding clients, maneuvers through an urban obstacle course over two thrilling days, aiming to receive positive reviews from customers, secure permanent employment, and obtain a work visa.

Born in a foreign country to parents of French and German descent, who later moved to the United States for some time, Elisabeth finds herself in an unfamiliar environment as she attempts to establish Paris as her permanent home. Despite being French, she primarily speaks English and is working on gaining legal residency. Her hearing issues necessitate the use of hearing aids, which Slama exploits creatively in the sound design, intensifying the overall feeling of disorientation.

Elisabeth, despite her brusque demeanor and aloofness, embodies the stereotypical Parisian, making her an unsuitable choice for escorting affluent but annoying individuals to their exorbitantly priced accommodations. The film’s initial scenes portray her swiftly moving from one apartment to another, with the camera keeping pace as she dashes about town. These sequences echo a different Paris-based narrative: Benoit Jacquot’s “A Single Girl,” which chronicled Virginie Ledoyen in real time as a luxury hotel maid grappling with a significant personal predicament.

In the initial scene, Elisabeth is grappling with significant troubles, such as a tough breakup and contemplating suicide. Her demeanor is far from friendly or casual, making her encounter with an unconventional client, the talkative, carefree, and easy-going Elijah (Lawther), seem destined for another mishap. However, as Elijah chooses to stay by Elisabeth’s side throughout the day and beyond, the story of A Second Life takes an unexpected turn: instead of developing into a romance, it evolves into a narrative detailing the blossoming friendship between two young individuals searching for authentic human connection.

Another film springs to mind in this context: Julie Delpy’s “Two Days in Paris“, featuring a French-American couple in a bustling city for its annual Music Festival. However, Slama’s movie appears more spontaneous and improvised, giving the impression that the actors are portraying themselves, while those around them seem only dimly aware that a film is being made (occasionally, bystanders glance at the camera).

In this DIY narrative, we follow the journey of two millennials navigating their lives while battling mental health issues – Elisabeth grappling with depression and Elijah dealing with panic attacks. Fortunately, Elijah, who happens to be a talented hypnotist, is in town for professional athletic engagements. At some point, he successfully penetrates Elisabeth’s defenses, providing much-needed tranquility during an unexpected therapy session at the Buttes-Chaumont park.

During certain parts, the movie may become overly sentimental, particularly when it frequently includes scenes of Monet’s renowned “Water Lilies” paintings or images from his picturesque gardens at Giverny. If there is any location that has become a tired tourist destination, alongside the Louvre and Eiffel Tower, this would be it. However, the director skillfully imbues it with deeper significance as the film progresses, showing how Monet’s work serves as a testament to his triumph over adversity despite his near blindness.

In the realm of gaming, I’d say it like this: “As a gamer, I found myself deeply immersed in the director’s world, one that felt strikingly authentic thanks to Rousselle’s powerhouse performance in ‘Titane’. After her groundbreaking role where she got pregnant by a Cadillac in Julia Ducournau’s debut, she proved she could handle everyday struggles. Her character, Elisabeth, resonated as a contemporary young woman, trying to find her place but unwilling to sell herself short, even turning down a lucrative job offer from a tech mogul. The director kept the lens trained on her throughout, showcasing the exhausting journey of finding acceptance in a stunning city that repeatedly pushes you away, until it unexpectedly embraces you.

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2025-07-09 01:25