Rebecca Zlotowski’s A Private Life is an unusual genre hybrid that refuses to fit comfortably into any one box. Equal parts character study, comedy and metaphysical whodunnit, it is a film that often feels unpredictable, sometimes fascinating, sometimes frustrating, but never boring.
The biggest attraction is undoubtedly Jodie Foster, who delivers a remarkable performance as Dr. Lilian Steiner, an American psychiatrist who has built a successful life in Paris. Foster performs almost the entire film in fluent French, a feat that is as impressive as it is effortless. Although she has long been known for her command of the language, seeing her carry an entire feature in French is a reminder of both her versatility and her remarkable screen presence.
Lilian appears composed and professionally accomplished, yet emotionally she keeps almost everyone at arm’s length. Her relationships with her ex-husband Gabriel, an ophthalmologist played with warmth and dry wit by French cinema legend Daniel Auteuil, and with her adult son reveal someone who has mastered the art of distance while struggling with genuine intimacy.
The story shifts dramatically after one of Lilian’s long-standing patients dies by an apparent overdose of medication Lilian herself had prescribed. Hoping to pay her respects, she attends the family’s shiva, only to be confronted and thrown out by the woman’s grieving husband, who holds her responsible for the tragedy.
The encounter leaves Lilian shaken in a strange, almost comic way: her tear ducts begin malfunctioning, leaving her crying uncontrollably, in sessions, on public transport, anywhere. The emotional unraveling that follows challenges both her professional confidence and her understanding of herself, leaving her unsure of who she really is.
From this point, A Private Life takes an increasingly unexpected path. Lilian turns to hypnotherapy in search of answers, and the narrative gradually introduces ideas surrounding past lives, inherited trauma and even a subplot about Nazi-occupied France. Rather than offering straightforward psychological explanations, the film ventures into territory that feels dreamlike and symbolic, asking the audience to embrace uncertainty.
These bold choices make the film difficult to classify. It begins as a wry, satirical character study before drifting into something far stranger, swinging between whodunit slapstick and near-surreal reverie.
One particularly intriguing subplot follows a former patient who, after years of therapy with Lilian failed to help him quit smoking, kicks the habit in a single thirty-minute session with a hypnotist. Furious at the money he spent, he confronts Lilian demanding reimbursement and threatens to sue her. The thread raises thought-provoking questions about the expectations placed on mental health professionals.
Ultimately, A Private Life is a film that demands patience. Its unconventional structure and willingness to embrace ambiguity will not appeal to everyone, and its final destination may leave some viewers more puzzled than satisfied. However, Zlotowski deserves credit for taking creative risks, even if they don’t always land.
The film succeeds primarily because of Jodie Foster’s exceptional performance. She anchors even the most bewildering moments with intelligence, emotional honesty and quiet authority, making Lilian a compelling figure throughout.
