Plonger Screen 4 articles

Plonger

2017

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  • Plonger confirmed Laurent's promise for me, at least for its first half, before a dead end of a second half, but here’s the thing: pretty much all the colleagues whose taste I esteem started walking out not even ten minutes in, and half the room seemed to have left by the end. What was I seeing that compelled me while others were instantly just not having it?

  • Though the script pulls off a fascinating shift in perspective for the final third, “Plonger” does everything it can to turn Paz’s quest for liberation into its prevailing aesthetic spirit. As a study of maternal ambivalence and wilted love, the film isn’t particularly complicated or difficult to read, especially when the themes seep directly into the dialogue. It also attaches itself to labored metaphors like the shark GPS.

  • Laurent definitely took a risk in [adapting the book], and at best she gives us a taste of Cesar’s pain and Paz’s oppression, using evocative imagery, layered sound design and eye-catching locations to convey their internal struggles on screen. It works up to a certain extent, but all the pretty pictures don’t necessarily get at the heart of the matter. When the film ultimately jumps the shark (in all senses of the term) by the last act, we’re left pummeled with purpose yet longing to know more.

  • A loving but mis-matched cross-cultural couple drift apart after the birth of their son in Diving (Plonger). Melanie Laurent’s fourth trip behind the camera after the excellent Breathe and highly successful doc Tomorrow is more often irritating than involving although it is fetchingly shot and features a few strikingly original elements. Chalk this up as a benevolent misfire in an honorable filmography.