Written and directed by Charlotte Gainsbourg
Starring Jane Birkin, Charlotte Gainsbourg, Jo Attal
Unrated
Runtime 1 hour 28 minutes
Opens March 18 at Quad Cinema

by Gary M. Kramer, Staff Writer

The Jane of Jane by Charlotte is actress/singer Jane Birkin. The Charlotte is Charlotte Gainsbourg, her actress/singer daughter by legendary French singer/songwriter Serge Gainsbourg. And this film—Gainsbourg’s first effort behind the camera (she also appears in front of it)—is a delicate portrait of mother and daughter that will appeal to fans of either or both.

For those unfamiliar with the family, some knowledge is useful for seeing the film as names are dropped throughout. Birkin’s first marriage was to John Barry, and they had a daughter, Kate, who died in 2013. (She fell out a window; it was either a suicide or an accident.) Birkin also had a third daughter, Lou, with Jacques Doillon. Charlotte is the middle child, and the mother of three children herself: Ben, Alice, and Jo. There is also a dog, Dolly.

Both Jane and Charlotte are first seen in Tokyo where Jane is performing a concert. This episode, which includes Jane making notecards, signing autographs, and taking photos indicates that the film is going to be an observational documentary rather than a biographical/career portrait of Ma mère. In fact, the best sequences in the film consist of little more than Jane and Charlotte talking about this and that, their relationship, and their lives. Viewers get to eavesdrop on conversations where mother and daughter discuss their shyness, and Jane reveals she was “intimidated” by Charlotte as a child. They take photos and talk about being photographed. (Jane loves it; Charlotte hates it). Charlotte takes images of Jane that are seen throughout the film, and they are wonderful. They talk about aging, Jane’s inability to throw anything away, and more.

It is all very sweet, and may not seem very deep, but the film builds. Charlotte conveys her impressions about Jane—that she is not distrustful of others, a quality she admires—while Jane admits she is “not responsible enough,” and regrets not having been there more for her daughters. It is a nice disclosure, but what really packs a wallop is a heart to heart they have about guilt. Jane is still struggling with the tragedy of losing Kate and wonders “what if” she had done things differently, or better, compounding her visible grief and pain. All this unfolds as home movies of the family are projected on a screen behind Jane, triggering her thoughts and emotions.

In contrast, an earlier vignette has mother and daughter walking through Serge Gainsbourg’s home, which has been kept largely intact. “It smells the same,” Jane observes, wistfully, noting that little has changed. It is fun to see them banally investigate what is in the kitchen and reflect on being among his possessions, and what to do with them.

Jane by Charlotte does hopscotch around from place to place, which can be frustrating. Jane and Charlotte are seen in New York one moment, France, the next, and then back in Tokyo a scene or two later. Yes, it is a personal film, so the continuity is more stream of consciousness, but Gainsbourg, the filmmaker, assumes viewers will follow along and absorb all that is said and shown. Some moments, like Jane sitting at a table, are less interesting than others.

Even if the tone is sloppy, there is still a lovely scene of mother and daughter in bed together having a lengthy chat about sleeping pills. It doesn’t reveal much other than the intimacy that these women share. Yet, this scene may be an indication of the film’s entertainment value. For those charmed by such episodes, Gainsbourg’s documentary will be satisfying. Anyone who find such exchanges too precious can pass.

Nevertheless, Gainsbourg’s love for her mother—who quit acting in 2016—is clear in every frame. Jane by Charlotte is a labor of love.