It’s nice that one of his last performances was so playful and for one of his best directors (Marvel, unfortunately, got their hooks into him for an episode of the risible “Moon Knight,” which aired earlier this year) and even nicer that he got to play up a deadpan comedic side. He was only 37, an impossible tragedy and a loss for a cinema that will miss his feline features and purred deliveries, his beautifully scarred face, his unknowable eyes. Ulliel died early in 2022 in a skiing accident. Ulliel was Bonello’s “ Saint Laurent” in his so-named 2014 biopic, giving an enigmatic, sexily sinister performance. Shockingly, one of the dolls is voiced by Gaspard Ulliel. At first, they don’t move, and the subtitles and voiceover tell us they’re alive, but later Bonello makes them stop motion. In sequences that suggest Bonello’s a fan of this TikTok, her dolls play out a drama of infidelity. The funniest, and most touching, distraction she gives herself is when she makes her toys come to live to perform for her. In her daydreams, sometimes she’s an animated character, still trapped, though. The interruption almost doesn’t faze them, so normalized is the idea of true crime to the bored kids. She FaceTimes her friends, who spend their spare time ranking the famous serial murderers until one of them seems to be killed by one of them. Labeque has the rising urge to self-mutilate, and when Faure reminds her that she can’t fit her hand into a food processor, she creeps down to the kitchen to make sure. She watches a chipper online personality ( Julia Faure), who gives the film its name. Labeque’s teenager is holed up by herself in her little corner of a fairly large French household riding out Covid-19 with little but her phone and laptop for company (her parents never appear, though her tiptoed excursions to the main part of the house suggest their judgmental presence just the same).
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