French widow adapts to her new life

The recently widowed Rose Goldberg (Francoise Fabian) heads to her next adventure in Rose. (Photos courtesy of Cohen Media Group)

By Richard Ades

After watching the widowed title character enjoy a surprising romantic adventure in Rose, a fellow viewer was confused. Did this really happen, she asked, or did Rose merely fantasize it?

The answer is that the adventure really happened, but it happened in a film that almost qualifies as a fantasy itself. Director/co-writer Aurelie Saada consistently sees her 78-year-old heroine’s life through what can only be called rose-colored glasses, resulting in a flick that tries a bit too hard to be upbeat and inspirational.

Originally released in 2021, the French drama previously made the rounds of American Jewish film festivals, including one in my own area. It’s now being given a wider release in U.S. theaters, perhaps as a lead-in to Valentine’s Day.

At its center is Rose Goldberg (Francoise Fabian), who’s spent the last 50 years as a devoted wife and mother. A homebody with no outside career of her own, she’s led a rather isolated existence.

As a result, she retreats into herself when her beloved husband suddenly succumbs to a medical condition that’s been hidden from her. Despite her grown children’s entreaties, she reacts to his unexpected death by refusing to leave her apartment or even bathe.

A breakthrough finally comes when daughter Sara (Aure Atika) convinces Rose to accompany her to a dinner party. Most of the guests are her daughter’s age, but the last to arrive is a lively senior named Marceline (Michele Moretti) who quickly makes herself the center of attention.

Rose (Francoise Fabian) samples a little pot while attending a dinner party with her daughter, Sara (Aure Atika, left).

Seeing this aging free spirit seems to have an immediate effect on Rose, who is inspired to cast aside her own inhibitions. Before the party is over, the former teetotaler is indulging in alcohol and even taking a few hits off a communal joint.

Still more changes follow the event, including the aforementioned romantic adventure. Rose apparently has decided to enjoy life to the fullest, even though it’s a life that previously was completely foreign to her. 

In contrast, Rose’s three children all appear to be stuck in their own lives. Sara is hung up on her long-estranged husband; married son Pierre (Gregory Montel) carries a torch for a former flame; and single son Leon (Damien Chapelle) is still living with his mother, in addition to being in trouble with the law.

The contrast between the unhappy children and their suddenly joyous mother would be touching if the former’s situations and the latter’s transformation had been fleshed out more.

Though the tale could be stronger dramatically speaking, it benefits from a fine cast and especially from Fabian’s luminous portrayal of the evolving Rose. It also benefits from Martin de Chabaneix’s warm cinematography and director Saada’s lively musical score, which reflects the title character’s Jewish heritage and Tunisian roots.

It all adds up to a film whose joy would be contagious if it were just a bit more convincing.

Rating: 3 stars (out of 5)

Rose (no MPA rating) opens Jan. 24 in New York and Los Angeles and expands to other markets in subsequent weeks, including Columbus’s Gateway Film Center on Feb. 14.