Anaïs runs all the time. She is unsettled as if being chased by something, but that doesn't mean she is embarrassed by her situation. She shares her worries with the landlord and is late for a cinema date with her boyfriend, but she is not particularly interested in apologizing. There may be some people who don't like Anaïs, who put their own feelings first rather than other people's feelings or social responsibility.
Until Anaïs is sent to “a beach,” Anaïs in Love intentionally misleads the audience. Set in the epitome of French romance films, it does not reveal its true nature even until the moment when a narcissistic young woman stumbles upon an intelligent older man and begins to feel sexual. The film's mood changes as Anaïs projects herself and shows admiration for his wife, Emilie.
Charline Bourgeois-Tacquet, an actress who makes her first feature-length debut as director, makes us just look at Anaïs' rather improvised choices and actions. She is not asking us to like or support her. It is about accepting Anaïs' existence and anxiety itself. You can guess the director's position through the natural light that gently and comfortably surrounds Anaïs. [Programmer KIM Hyunmin]