Chloë Sevigny’s Miscasting Highlights ‘Bonjour Tristesse’ Review in Modern Female Adaptation of Sagan’s Novel

The 1958 adaptation of “Bonjour Tristesse” embodies a bygone Hollywood era that today’s industry often avoids: a film by the notoriously abrasive Otto Preminger, based on a novel about a French teenager. Jean Seberg, the film’s star, criticized Preminger for using and discarding her.

In a stark departure, the new version by Montreal director Durga Chew-Bose offers a fresh, feminine perspective. This retelling focuses on sensory details—like the warmth of the Côte d’Azur sun or the smell of aftershave—yet, despite its alluring visuals, the film lacks depth, offering a visually rich but narratively weak depiction of the French Riviera.

Chew-Bose’s portrayal of Cécile, now played by Lily McInerny, adds more complexity to her motives for intervening in her father’s love life compared to the earlier film. However, the execution feels somewhat disjointed and miscast, suggesting the film will generate some interest but not overshadow Preminger’s version.

Claes Bang plays Raymond, Cécile’s father, bringing his new girlfriend Elsa (Naïlia Harzoune) to their vacation home on the French Riviera. Although Cécile is used to her father’s womanizing, she feels threatened when he proposes to Anne (Chloë Sevigny), a woman who seems out of character for him. Echoing classic tales like “The Parent Trap,” Cécile devises a scheme to prevent the marriage.

The intense self-reflection seen in Seberg’s portrayal, Chew-Bose’s version provides a more nuanced view of Cécile’s struggles, making her experiences more relatable and personal.

The film indulges in meticulously crafted moments of relaxation, from Cécile’s subtle gestures to her distinctive way of buttering toast. These scenes, captured by cinematographer Maximilian Pittner, convey a sophisticated sense of ennui that recalls Sofia Coppola’s films and “Call Me by Your Name,” while also resonating with Jacques Deray’s “La Piscine.”

Despite setting the film in the present day—complete with a scene where Raymond instructs Cécile to throw her iPhone into the sea—the adaptation fails to capture the revolutionary spirit of Sagan’s novel, making the source material appear outdated. Cécile’s subdued romance with Cyril (Aliocha Schneider) feels less provocative as a result.

Eventually, “Bonjour Tristesse” presents itself as a stylish, nostalgic retreat from modernity, replete with retro details. The casting choices, particularly Sevigny’s role, feel incongruous with the film’s tone, underscoring a disconnect between the film’s ambitions and its execution.