During an exhilarating moment of tension in Jodie Foster’s new film, “A Private Life,” Foster’s character, Lilian Steiner, an American psychoanalyst living in France who suspects foul play after the sudden and mysterious death of one of her longtime patients, breaks character — at least in a manner of speaking. Trying to reach a hypnotist who she believes has the missing piece of the puzzle she’s found herself caught up in, Lilian hits a dead end. The hypnotist refuses to talk. “It’s Friday,” the hypnotist tells Lilian. “I have a train to catch. Monday I’m busy, and then I’m going on vacation.” After being hung up on, Lilian grumbles. “‘Vacances.’ F**king French!”
Like the rest of Rebecca Zlotowski’s spellbinding film, this bit of character work in “A Private Life” — or, in its original French, “Vie Privée” — keenly marries French filmmaking with American sensibilities. Once one gets past the initial shock, awe and envy of seeing Foster in her first French-speaking leading role, it’s easy to be swept away by the veteran actor’s exquisite, fluent mastery of the language. In no time at all, Foster’s consummate commitment and Zlotowski’s fabulous directorial style turn the language aspect into an afterthought. When this scene with the hypnotist occurs about an hour into the film, the illusion is briefly suspended. The viewer snaps back to reality and remembers that, like Foster, Lilian is American, and her first language is English. But this brilliant bit of dialogue doesn’t break Zlotowski’s spell; it enhances its power. In no time, Foster transitions right back into French, and aside from a few more intentional character slips throughout the film, Foster’s speech is unerring. Her pronunciations are natural and unforced. Even her demeanor loosens along with the freely flowing language. It’s mesmerizing to witness.
