Upon its limited release in 2018 (it played only five film festivals, including a single midnight screening at Raindance), Monamour 2017 received mixed-to-negative reviews. Critics called it “pretentious” (The Guardian’s one-line dismissal) and “a soft-core film for people who quote Derrida” (Film Threat). Audience scores were polarized: men over 50 found it boring; women under 35 found it revelatory.
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Why the appreciation? Three factors:
At its core, Monamour 2017 is a two-hander with a ghost. The film follows (played with aching vulnerability by an understated European lead), a gallery curator in her late 30s, and her husband Leonardo , a successful but emotionally absent publishing executive. They live in a minimalist apartment in Milan—all gray concrete, glass tables, and cold light. The physical geography mirrors their marriage: sleek on the outside, hollow within. Upon its limited release in 2018 (it played