Being all things to all people is an impossibility for anyone.
Directed by Chloe Robichaud, Days of Happiness tells the story of Emma (Sophie Desmarais), an up-and-coming conductor with tremendous skill and promise. With a promising future in front of her, Emma’s career is (micro)managed by her father, Patrick (Sylvain Marcel). However, their relationship has always strained and Emma is feeling the pressure to meet his demands. Then, after she becomes romantically involved with Naelle (Nour Belkhiria), Emma’s work/life balance continues to fall apart, forcing her to re-evaluate her priorities.
Although many are comparing Happiness to last year’s Oscar-nominated Tar, the similarities end with their setting. Though both films follow the lives of obsessive female conductors, there’s a hopefulness in this film that eludes Tar.
In many ways, Happiness is a film falls into the structure of a coming-of-age film. Emma believes that she can have it all but there appears to be a lack of connection in all areas of her life. Despite her promising future, Emma’s soul is torn in multiple directions. In every aspect of her life, she is expected to be someone else. To her father, she must be the perfect client. To Naelle, the perfect girlfriend. To her supervisors, the perfect conductor. (In fact, even the press view her solely as a woman, as opposed to a high-quality conductor.)
Much like the film’s opening scene at the lake, Emma is a woman set adrift, looking for something secure to hold onto. In every aspect of her life, she yearns to be loved yet seems to come up empty.
But therein lies the beauty of Happiness.
This is a film about the cost of wanting it all, especially when everyone else believes that they know what’s best. As such, even in its darkest of moments, Robichaud ensures that Emma’s story kicks back against the shadows. Although her journey is difficult, there’s a genuine optimism that fuels the film.
Days of Happiness is now playing at TIFF ’23. For more information, click here.
