A Comprehensive Review of Tromperie (2021): Arnaud Desplechin’s Intimate Exploration of Love, Deception, and Literature

Introduction

Arnaud Desplechin’s Tromperie (2021), also known as Deception in English, is a cinematic adaptation of Philip Roth’s 1990 novel of the same name. This French-language film, set in London in 1987, delves into the complexities of human relationships, intellectual desire, and the blurred lines between truth and fiction. Starring Denis Podalydès as the protagonist Philip, Léa Seydoux as his English lover, and a stellar supporting cast including Emmanuelle Devos, Anouk Grinberg, and Rebecca Marder, Tromperie is a chamber piece that thrives on dialogue, introspection, and the interplay of personal and creative lives. With a runtime of 105 minutes, the film is a cerebral yet emotionally resonant exploration of infidelity, imagination, and the act of storytelling itself.

In this comprehensive review, I will analyze Tromperie through multiple lenses: its narrative structure, character development, thematic depth, directorial style, performances, and cultural significance. I will also evaluate its fidelity to Roth’s novel, its place within Desplechin’s oeuvre, and its reception among critics and audiences. By dissecting the film’s strengths and weaknesses, this review aims to provide a thorough understanding of Tromperie as both a standalone work and a contribution to contemporary cinema.

Synopsis

Tromperie centers on Philip (Podalydès), an American novelist living in London, who engages in a series of intimate conversations with his lover, an unnamed English woman (Seydoux). Their encounters, often set in Philip’s sparsely furnished office, are filled with witty banter, philosophical musings, and reflections on love, fidelity, and art. The film unfolds through a series of vignettes, blending these clandestine meetings with scenes from Philip’s life, including interactions with his wife (Devos), a former lover Rosalie (Grinberg), a Czech émigré named Karla (Madalina Constantin), and a young student, Yvette (Marder).

As Philip navigates these relationships, the boundaries between reality and fiction become increasingly porous. Is the English lover a real person, a composite of multiple women, or a figment of Philip’s imagination? Desplechin keeps the audience guessing, using the structure of Roth’s novel—a series of dialogues with minimal narrative scaffolding—to explore the writer’s psyche. The film also incorporates a surreal trial sequence, where Philip is accused of misogyny, reflecting Roth’s own contentious reputation. Through these fragmented episodes, Tromperie examines the intersections of desire, creativity, and self-deception.

Narrative Structure and Adaptation

The narrative structure of Tromperie is both its greatest strength and its most divisive quality. Like Roth’s novel, the film eschews a conventional linear plot in favor of a mosaic-like composition. It is divided into chapters, each focusing on a specific conversation or relationship, with titles such as “The English Lover,” “Rosalie,” and “The Trial.” This episodic approach mirrors the novel’s dialogue-driven format, where Roth presents unfiltered exchanges between characters without explicit context.

Desplechin, who co-wrote the screenplay with Julie Peyr, remains faithful to the spirit of Roth’s text while making significant changes to suit the cinematic medium. The novel is almost entirely composed of dialogue, with no descriptive prose or clear indication of whether the conversations are real or imagined. Desplechin translates this ambiguity into visual terms, using distinct settings—Philip’s office, a hotel room, a courtroom—to ground the abstract nature of the text. He also introduces a subtle chronological progression, with scenes set in different seasons, to give the film a sense of temporal flow absent in the book.

One notable addition is the trial sequence, a metafictional device that externalizes the novel’s subtext. In this scene, Philip faces a panel of accusers who charge him with exploiting women in his writing. This moment, absent from Roth’s text, serves as a commentary on the author’s legacy and the ethical questions surrounding his work. While some critics have praised this addition as a bold reinterpretation, others argue it feels heavy-handed, disrupting the film’s otherwise understated tone.

The challenge of adapting Tromperie lies in its cerebral nature. Roth’s novel is a literary experiment, more concerned with ideas than plot. Desplechin succeeds in preserving this intellectual rigor while making the story accessible to a broader audience. However, the film’s reliance on dialogue and lack of traditional narrative momentum may alienate viewers accustomed to more conventional storytelling.

Themes and Symbolism

At its core, Tromperie is a meditation on deception—both in personal relationships and in the act of artistic creation. The title, which translates to “deception” or “infidelity” in French, encapsulates the film’s central preoccupation: the ways in which people deceive themselves and others to sustain their desires.

Infidelity and Desire

The relationship between Philip and his English lover is the emotional heart of the film. Their conversations, which range from playful flirtations to profound confessions, reveal the complexities of extramarital affairs. Philip is married, yet his connection with the English woman is not merely physical; it is an intellectual and emotional partnership. Seydoux’s character, with her sharp wit and vulnerability, challenges Philip’s self-perception, forcing him to confront the contradictions in his behavior.

Desplechin uses this relationship to explore the tension between fidelity and freedom. Philip’s affairs are not portrayed as moral failings but as expressions of his restless curiosity. However, the film does not shy away from the pain caused by infidelity. Scenes with Philip’s wife, played with quiet intensity by Devos, underscore the emotional toll of his actions. Through these contrasting perspectives, Tromperie avoids simplistic judgments, presenting infidelity as a multifaceted human experience.

Art and Reality

Another key theme is the interplay between art and reality. Philip, as a writer, blurs the line between his life and his fiction. The women in the film may be real people, characters in his novels, or both. Desplechin emphasizes this ambiguity through visual cues, such as the recurring image of Philip’s notebook, where he jots down ideas inspired by his conversations. The act of writing becomes a metaphor for deception, as Philip reshapes reality to suit his narrative.

The trial sequence amplifies this theme, questioning the ethics of transforming real lives into fiction. By putting Philip on trial, Desplechin engages with broader debates about authorship and responsibility, particularly in the context of Roth’s controversial portrayal of women. The film does not provide definitive answers but invites viewers to consider the moral implications of storytelling.

Identity and Exile

Set in London, Tromperie also touches on themes of identity and exile. Philip, an American expatriate, is an outsider in a foreign city, much like the Czech émigré Karla, who shares her experiences of displacement. These characters grapple with questions of belonging, their personal struggles mirroring the broader cultural dislocations of the late 20th century. Desplechin uses these subplots to enrich the film’s exploration of human connection, showing how shared vulnerabilities can bridge divides.

Directorial Style

Desplechin’s directorial style in Tromperie is intimate and restrained, a departure from the kinetic energy of his earlier films like A Christmas Tale (2008) or My Golden Days (2015). Working with cinematographer Yorick Le Saux, he creates a visually cohesive world that balances warmth and austerity. The film’s primary setting, Philip’s office, is a minimalist space with soft lighting and muted colors, reflecting the introspective nature of the story. Outdoor scenes, shot in London’s parks and streets, add a touch of vibrancy, contrasting with the claustrophobic interiors.

Desplechin’s use of close-ups and medium shots emphasizes the emotional nuances of the performances. The camera lingers on the actors’ faces, capturing subtle shifts in expression that convey unspoken tensions. The editing, by Laurence Briaud, is deliberate, with long takes that allow the dialogue to breathe. This pacing suits the film’s talky nature but may test the patience of some viewers.

The soundtrack, composed by Grégoire Hetzel, is understated, with delicate piano and string arrangements that enhance the film’s melancholic mood. Desplechin also incorporates classical music, such as Schubert’s Winterreise, to underscore the characters’ emotional states. These choices create an atmosphere of quiet intensity, drawing viewers into the characters’ inner worlds.

Performances

The ensemble cast of Tromperie delivers uniformly excellent performances, with each actor bringing depth to their role. Denis Podalydès, as Philip, is the linchpin of the film. Known for his work in French theater and cinema, Podalydès imbues Philip with a mix of charm, insecurity, and intellectual arrogance. His delivery of Roth’s dense dialogue is natural and engaging, making the character both relatable and flawed.

Léa Seydoux, as the English lover, is a revelation. Her performance is a masterclass in subtlety, conveying a range of emotions—from playful seduction to quiet despair—through her expressive eyes and measured speech. Seydoux’s chemistry with Podalydès is palpable, grounding the film’s intellectual debates in genuine human connection.

Emmanuelle Devos, as Philip’s wife, has limited screen time but makes a lasting impact. Her portrayal is understated yet powerful, capturing the dignity and pain of a woman betrayed. Anouk Grinberg, as Rosalie, brings warmth and resilience to her role as a cancer survivor reflecting on her past with Philip. The supporting performances, including Madalina Constantin as Karla and Rebecca Marder as Yvette, are equally compelling, adding texture to the film’s tapestry of relationships.

Cultural and Historical Context

Tromperie is deeply rooted in the literary and cultural context of Philip Roth’s work. Roth, one of America’s most celebrated novelists, was known for his provocative explorations of Jewish identity, sexuality, and the American experience. Deception, published in 1990, marked a shift toward experimental storytelling, challenging readers to question the boundaries between autobiography and fiction. Desplechin’s adaptation engages with these themes while situating them in a European context, reflecting his own fascination with literature and identity.

The film’s 1987 setting, faithfully adapted from the novel, evokes a pre-digital era when personal relationships were less mediated by technology. This temporal distance adds a layer of nostalgia, particularly in scenes depicting London’s cultural landscape. Desplechin also nods to the political upheavals of the time, such as the Cold War and Eastern European migration, through Karla’s backstory.

Within Desplechin’s filmography, Tromperie stands out as a quieter, more introspective work. While his earlier films often blended family drama with vibrant ensemble casts, Tromperie is a chamber piece that prioritizes dialogue over action. It shares thematic similarities with My Sex Life… or How I Got Into an Argument (1996), another Desplechin film about intellectual men navigating romantic entanglements, but its literary roots and minimalist aesthetic set it apart.

Reception and Impact

Upon its release, Tromperie received mixed but generally positive reviews from critics. At the 2021 Cannes Film Festival, where it premiered in the non-competitive Cannes Première section, it was praised for its performances and intellectual ambition. Critics like Peter Bradshaw of The Guardian lauded its “literate, talky charm,” while others, such as Jessica Kiang of Variety, noted its “occasionally stilted” adaptation of Roth’s prose.

Audience reactions have been more polarized. Fans of Roth’s work and Desplechin’s cerebral style appreciate the film’s fidelity to the novel and its nuanced performances. However, casual viewers often find its dialogue-heavy structure and lack of narrative drive challenging. On platforms like IMDb and Rotten Tomatoes, Tromperie holds modest ratings, reflecting its niche appeal.

The film’s impact on contemporary cinema lies in its bold adaptation of a difficult text. By tackling Roth’s experimental novel, Desplechin demonstrates the potential for literature and film to intersect in meaningful ways. Tromperie also contributes to ongoing conversations about gender, authorship, and the ethics of storytelling, particularly in the #MeToo era.

Strengths and Weaknesses

Strengths

1. Performances: The cast, led by Podalydès and Seydoux, delivers nuanced, emotionally resonant performances that elevate the dialogue-driven script.
2. Thematic Depth: The film’s exploration of infidelity, art, and identity is thought-provoking and open-ended, inviting multiple interpretations.
3. Visual Restraint: Desplechin’s minimalist aesthetic and careful framing create an intimate, immersive experience.
4. Literary Fidelity: The adaptation captures the spirit of Roth’s novel while making it accessible to a cinematic audience.

Weaknesses

1. Pacing: The film’s deliberate pace and reliance on dialogue may alienate viewers seeking a more dynamic narrative.
2. Accessibility: Its cerebral nature and lack of clear resolution make it less approachable for casual audiences.
3. Trial Sequence: The metafictional trial, while ambitious, feels tonally inconsistent with the rest of the film.
4. Limited Scope: The focus on Philip’s perspective limits the development of other characters, particularly the women in his life.

Conclusion

Tromperie (2021) is a bold and introspective addition to Arnaud Desplechin’s filmography, offering a thoughtful adaptation of Philip Roth’s challenging novel. Through its rich dialogue, stellar performances, and nuanced exploration of love, deception, and creativity, the film captures the complexities of human relationships and the act of storytelling. While its cerebral style and episodic structure may not appeal to all viewers, it rewards those willing to engage with its intellectual and emotional depths.

For fans of literary cinema, Tromperie is a must-see, showcasing the power of adaptation to illuminate timeless themes. Its flaws—namely its pacing and occasional heavy-handedness—do not overshadow its strengths, which lie in its performances, thematic ambition, and Desplechin’s assured direction. As a meditation on the intersections of life and art, Tromperie lingers in the mind, inviting reflection long after the credits roll.

Rating: 8/10

Recommended for: Fans of Philip Roth, Arnaud Desplechin, and dialogue-driven dramas.
Not recommended for: Viewers seeking fast-paced narratives or conventional storytelling.