In “The Flood,” the court of Louis XVI is depicted as a decayed shadow of its former grandeur, offering a stark portrayal of the king’s final days. This film, a second feature by Italian director Gianluca Jodice, presents a somber contrast to previous cinematic depictions of Louis XVI and Marie Antoinette, which often showcased their downfall with opulence and flair.
Unlike the indulgent excess seen in Sofia Coppola’s 2006 film, Jodice’s vision strips away the luxury, leaving only the bleak remnants of a crumbling monarchy. Guillaume Canet and Mélanie Laurent deliver powerful performances as the dethroned and imprisoned royals, their costumes and appearances reflecting their diminished status.
The film’s grim portrayal might disappoint those who favor more glamorous depictions of royalty, but its austere and compelling atmosphere provides a unique experience.
Drawing from the diaries of Louis XVI’s valet, Jean-Baptiste Cléry, the narrative begins after the 1792 insurrection, with the royal family imprisoned in the Tour du Temple, a stark and sparsely furnished chateau in Paris.
The chateau, though luxurious by common standards, becomes a grim parody of their former lives. The production design by Tonino Zera and Daniele Ciprì’s desaturated cinematography enhance the film’s dystopian mood, contrasting the former grandeur with the starkness of their confinement. The film’s script, co-written by Jodice and Filippo Gravino, uncovers in three acts: “The Gods,” “The Men,” and “The Dead,” depicting the royals’ escalating plight.
“The Gods” reveals their lingering public respect, while “The Men” shows their diminishing comforts and increasing isolation. The final chapter, “The Dead,” provides a sobering conclusion.
“The Flood” offers a critical view of these figures, focusing more on their personal suffering and conflicts rather than their political failings. Laurent’s portrayal of Marie Antoinette is particularly striking, capturing the queen’s desperation and disintegration with haunting precision. As her surroundings decay, so does her regal demeanor, leading to a poignant and raw depiction of her final days.