Independent Films, Film Profiles

The Russian Dolls

The Russian Dolls (French: Les poupées russes) is a 2005 French-British film, the sequel to L'Auberge espagnole (2002). Cédric Klapisch wrote and directed the film, whose settings include Paris, London, Saint Petersburg and Moscow. Klapisch makes use of digital and split-screen effects in the film, as well as non-linear narrative.Les Poupées russes begins with friends from "L'Auberge espagnole"in Saint Petersburg for the wedding of Wendy's brother William. Xavier begins to reminisce about the past several years. He and Martine split up, and Martine has had a child and become a committed environmental activist. For financial reasons, Xavier becomes a writer for pulp romantic novels and a ghostwriter for celebrities who can't write their own biographies. Martine criticizes his pulp novel work as being unrealistic and corny. Xavier feels just the same about this, but only replies to her that he earns good money. In Paris, Xavier has a brief affair with Kassia, a sales clerk from Senegal. When Xavier's grandfather asks about Xavier's fiancée, he asks his lesbian friend Isabelle (L'Auberge Espagnole) to pose as his fiancée.In Paris Xavier runs into Wendy (L'Auberge Espagnole), who herself has become an accomplished television writer and the two will team up to write a TV story. Wendy, who Xavier has strong feelings for, is involved in an unhealthy relationship. A TV show assignment takes Xavier to London where he had requested to work with Wendy. In his other job Xavier is giving the chance to ghost write a biography of Celia, a model. On one of his visits Xavier and Celia kiss and make love while looking at the boats on the River Seine. In time Xavier and Wendy's attraction to each other becomes a physical relationship. Xavier and Wendy's boyfriend fight, and he throws her prior boyfriend out.Wendy's brother William has fallen in love with Natasha, a Russian ballerina. He learns Russian for a year to try to win her, succeeding, he moves to Saint Petersburg. Xavier and Wendy go to Russia at one point to stay with William and Natasha. Xavier and Wendy's relationship is going perfectly, until Celia calls Xavier to come and visit her, as she is staying in Moscow. Xavier goes to visit Celia, telling Wendy that he has to see the publishers in Moscow and that it is unavoidable. Wendy had looked at Xavier's cellphone, but sees the number is not his publisher's but in fact another woman's. Saying goodbye at the train station Wendy lays her true feelings on the line. Xavier stunned doesn't move and stays on the train as Wendy walks away crying.In Moscow, Celia and Xavier meet up and make love again but do not actually consummate their attraction. At one point in a club she asks Xavier to get her a glass of milk but then reluctantly leaves when she sees some old friends. Failing to connect that night via cell phone Xavier and Celia never meet again. Celia represents the perfect girl, the princess, the street of ideal proportions, the impossible dream girl Xavier has been seeking his whole life. Subsequently he returns to St. Petersburgh but now Wendy, convinced that he had an affair whilst in Moscow, avoids him.At the end of the film, William and Natasha are married in front of family members and characters seen in L'Auberge Espagnole. Wendy's divorced parents begin to squabble on the cruise ship during the reception. Wendy has avoided Xavier in the time leading up to the wedding, but she is unhappy at seeing her parents arguing. Xavier comforts her and apologises for his past behaviour. The film ends with Xavier and Wendy embracing.The title comes from Xavier's monologue, "J'ai repensé à toutes les filles que j'avais connues, avec qui j'avais couché, ou même que j'avais seulement désiré. Je me suis dit qu'elles étaient commes des poupées russes. On passe sa vie entière à jouer à ce jeu là, on est curieux de savoir qui sera la dernière. Celle qu'était cachée depuis le début dans toutes les autres. On ne peut pas l'attraper directement. On est obligé de suivre un cheminement, faut les ouvrir, l'une après l'autre en se demandant à chaque fois : est-ce que c'est elle la dernière?", which can be translated as, "If I think of all the girls I've known or slept with or just desired, they're like a bunch of Russian dolls. We spend our lives playing the game, dying to know who'll be the last. The teeny-tiny one, hidden inside all the others. You can't get to her right away. You have to follow the progression. You have to open them, one by one, wondering, 'Is she the last?'"