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Langue étrangère(2024) Story
Claire Burger, a graduate of France’s prestigious La Fémis (École Nationale Supérieure des Métiers de l'Image et du Son), made her mark in 2014 when her debut feature film, co-directed with two classmates, won the Caméra d'Or at the Cannes Film Festival. Following this success, she directed Party Girl, which earned the Venice Days Award for Best Film at the Venice Film Festival.
Her latest work, Langue Étrangère (Foreign Language), continues her exploration of themes surrounding women’s life experiences and family dynamics, much like her earlier films. However, this entry, which competed in the Berlinale's main competition this year, delves deeper. It unravels a tender coming-of-age tale about two teenage girls while simultaneously addressing love, empathy, and the core sociopolitical issues that resonate deeply within both French and German societies. This thematic resonance aligns perfectly with the Berlin Film Festival’s commitment to reflecting international sociopolitical discourse.
The story begins on a train journeying between Leipzig, Germany, and Strasbourg, France. Fanny, a 17-year-old French student, travels to Germany as part of a language exchange program. In Leipzig, she meets Lena, her pen pal of the same age, who harbors a fervent passion for political activism. The two young women, fluent in multiple languages, embody the fluidity of modern youth. Their identities flow seamlessly across German and French dialogues and through nonbinary sexual orientations. For these cosmopolitan teens, traditional boundaries—whether tied to nations or notions of personal identity—are increasingly irrelevant.
Born in 1978 on the Franco-German border, Claire Burger skillfully incorporates her personal experiences to transcend the stereotypes that often define Franco-German relations. Through dynamic cinematography, the film follows the girls as they bike through Leipzig’s vibrant streets, accompanied by pulsating music. This offers a refreshing departure from Germany’s usual urban landscapes of Berlin and Hamburg, injecting a youthful energy into the portrayal of Leipzig. The narrative also examines Lena’s generation, particularly their struggle to define themselves against the weight of Germany’s historical legacy, as epitomized by Lena’s extreme anti-fascist left-wing political stance.
Leipzig itself, historically significant as the epicenter of the peaceful candlelight protests that preceded the fall of the Berlin Wall, parallels Lena’s political determination. Both Fanny and Lena come from affluent yet emotionally fragmented middle-class families. The film introduces two acclaimed actresses—Lilith Grasmug and Nina Hoss—as pivotal portrayals of the older generation of women, each with their own struggles.
Lena’s turbulent relationship with her emotionally unstable, divorce-stricken mother starkly contrasts with her own fiery, rebellious nature. Their dynamic symbolizes the vastly different trajectories of post-Cold War German generations. On the other hand, Fanny’s storyline probes more societal issues, such as bullying and adolescent mental health. As a biracial teenager of French and Arab descent, her anxieties subtly reflect the complexities of France’s stance on immigration and cultural integration.
The European youth perspective in Foreign Language is portrayed with remarkable authenticity. In one particularly poignant scene, Lena and Fanny, after sharing their individual pains and empathizing deeply with each other, embrace and share a tender kiss. Their vulnerabilities—marked by self-doubt and the unease of feeling unmoored—drive them to seek belonging or individuality. On this path, lies and escapism become as tempting and seemingly harmless as sweet chocolate, yet these same vulnerabilities foster a deep acceptance of one another and an enduring willingness to share their ideals.
What sets Foreign Language apart is its ability to embed controversial, real-world issues within the structure of a coming-of-age story without devolving into didacticism. The film captures the ripple effects of youthful love, the profound yet messy affection within families, and the contradictions of human desire and trust. These elements ensure that even with its layers of topical, provocative, or trend-conscious themes, the film never feels forced or superficial.
As Claire Burger remarked during the Berlin press conference, “Rather than categorizing Foreign Language as a youth film or a political statement, it’s better to view it as a film about seeking and redefining love. It’s about understanding personal and collective fears, capturing the emotional sensitivities of different generations, and depicting a heartfelt exploration of longing and trust.”
