Mourning has never looked quite as exquisite as when Juliette Binoche does it in “The Wait.” As Anna, a woman whose son has just died, she dazzles, even when lying in bed, still in her funeral clothes, her expressive eyes fixed on the void.
But “The Wait” is about more than sorrow — even beautiful sorrow. It’s about the strange, sometimes inexplicable ways people cope with loss.
Frenchwoman Anna lives alone on a sprawling Sicilian estate that once belonged to her ex-husband’s parents. With only a taciturn caretaker (Giorgio Colangeli) for company, Anna could go on lying in bed forever, but a phone call brings her back to life. It’s Jeanne (Lou de Laâge), the girlfriend of Anna’s late son, who clearly hasn’t heard the bad news. She’s calling to confirm an upcoming visit.
This is where things get weird.
Rather than tell Jeanne the truth, Anna replies that, yes, she and her son Giuseppe are expecting her. And when the lovely, shy Jeanne arrives, curious about Giuseppe’s absence, Anna tells another lie, explaining that he had to leave town due to a death in the family, but that he will be back in time for the Easter holiday.
Even though “The Wait” takes place in the early 2000s, before the advent of Facebook and all the public mourning that came with it, it’s still difficult to imagine that Jeanne would fall for Anna’s story, especially after she calls Giuseppe multiple times on his cellphone, to no response.
But even with a plot that hinges on the implausible, the movie somehow works. The narrative is less important than the complex emotional landscape that “The Wait” so artfully depicts.