Review: ‘Jane Austen Wrecked My Life’ doesn’t assume love is the solution

Romantic fiction has been giving women unrealistic expectations of love for more than a century. First books, then films depicted fanciful courtships and idealistic relationships in which everything always works out because these couples see each other for who they really are and love each other in spite of their incompatibilities. Thus, the girl next door rides off with the bad boy, the princess and the criminal live happily ever after, the wallflower tames the womanizer, and the list of fairy tale mismatches go on. In Jane Austen Wrecked My Life, a single woman on the verge of spinsterhood suddenly finds herself choosing between two men.

Agathe (Camille Rutherford) is an aspiring writer who can never find her story’s end. Her greatest inspiration is Jane Austen, which permeates her writing and has coloured her romantic views. She runs a quaint bookstore with her best friend, Félix (Pablo Pauly). The pair have an intimately flirtatious relationship that has so far been wholly platonic. But when she accepts a two-week post in the Jane Austen Residency program, Félix sees her off with a more-than-just-friends kiss. Upon arriving, Agathe is greeted by Oliver (Charlie Anson), a distant relative of Agathe’s muse and a very pragmatic yet caring literature professor disenchanted with Austen’s work.

The film opens with Agathe lip-syncing to the 1960s tune, “Be My Baby,” made famous by its inclusion on the Dirty Dancing soundtrack and, therefore, a fitting start to a movie about romanticism. However, the protagonist is not delusional about her prospects in love — she’s not waiting for Mr. Darcy to sweep her off her feet. She values Austen’s work because before her all women’s perspectives were written by men, and the author brought depth and understanding to her female characters. Agathe appreciates the strength and complexity of Austen’s fictional women — traits she emulates in her own life, though she can also be a bit foolhardy.

The movie is bilingual, unfolding in English and French. Perhaps its French origins partially explain how Laura Piani’s feature directorial debut is able to remain grounded as Agathe navigates these unexpected circumstances and makes the right choices for herself. This composure is most adeptly reflected in a ballroom scene with very few spoken words, conveying the triangle of emotions primarily through movement and eye contact. Everything between everyone remains refreshingly civilized without becoming melodramatic. Consequently, Agathe appears relatable, whether she’s making an embarrassing mistake or is firmly and intelligently defending her opinion.

Although she’s beyond her formative years, this is a tale of self-discovery — or, more accurately, rediscovering oneself. The residency emboldens Agathe to quietly confront her trauma and fears, as well as her writer’s block. In a short time, audiences learn a lot about the protagonist and can appreciate her journey over the course of the film. In fact, one of the key developments appears as nearly an afterthought, in spite of being the expected romantic outcome, since Agathe grows and appears very content with life and herself. This allows the ending to be even more joyful since it was almost unnecessary.

Director: Laura Piani
Starring: Camille Rutherford, Pablo Pauly and Charlie Anson