Régis Roinsard is back with a thriller movie. “The Translators” – said to be out on January 29, 2020 – explores the universe of the (rather unknown and discreet) world’s bestseller translators.
For his second feature, Régis Roinsard directs Lambert Wilson, Frédéric Chau, Olga Kurylenko, Sidse Babett Knudsen and Sara Giraudeau.
Locked in a luxurious house without any contact possible with the outside world, nine translators are gathered to translate the last chapter of one of the greatest world’s bestsellers. But when the first ten pages of the novel are released on the internet and a pirate threatens to unveil the rest if he doesn’t get a colossal ramson, one question haunts the publisher: where does the leak come from?
“The Translators” isn’t an “easy movie to make in France” kind, according to producer Alain Attal. But we love the kind of “The Translators” movie. First because of its director, Régis Roinsard, has fun messing us around all the movie long.
The common thread? The publisher – as played by Lambert Wilson – absolutely wants to know how the book has been leaked while the translators were totally cut off the world in a manor… He remembers everything to try and understand. We follow his reflection. And this mischievous director enjoys multiplying fake leads (yet useful to get the story), showing things that are not what they seem, repeating scenes… In other words, everything has been designed (and well) to make us as lost as Wilson.
“The Translators” stages very curious characters, starting with this publisher who grows more and more odious and despicable, his strange assistant (Sara Giraudeau and her oh-so recognizable voice), as well as translator Katerina (Olga Kurylenko) who sometime thinks she’s the new James Bond (but isn’t she the same actress who played a James Bond girl in Quantum of Solace?).
To elevate his movie, Régis Roinsard bet on music, sometimes with an orchestra, sometimes nerve-racking, on the aesthetic. The scenes with Olga Kurylenko dressed at the bottom of the pool are beautiful and make us think of an ad.
At the end of the day, we can think the crime was (almost) perfect if we don’t take account of her (bad) collateral damages and her very comprehensible motivation.
We can think that [spoiler] got a taste of their own medicine.