The Rendezvous

The Rendezvous

Together with their two children a Dutch couple Simone (Loes Haverkort) and Eric (Mark van Eeuwen) moved to a dilapidated farmhouse in France which belonged to her mother who has just passed away. They have ambitions to transform the farmhouse into a bed and breakfast, and employ a Dutch contractor Peter (Peter Paul Muller) who lives in the area. With the renovation taking place, Simone is quick to notice a handsome construction worker Michel (Pierre Boulanger) who is one of the workers on site. It goes without saying that they fall in love and from there things go wrong.

Rendez-Vous has an edge, first of all, its pleasing to the eye. The work of Jeroen de Bruin, especially his aerial photography integrating it with the breathtaking views of French countryside, is also mature. Loes Haverkort, meanwhile, is rather pleasant on the eyes. She begins quite well, however, in terms of accepting a new way of life or rather than just a language barrier with a new sort of Dutch couple that of course shifts one’s environment, Antoinette Beumer begins with a good domestic drama.

But the main source of drama, Simone’s love affair with Michel, does not burn with the needed fire or passion. I am instantly reminded of the infidelity scene in Adrian Lyne’s Unfaithful (2002) with Diane Lane and Olivier Martinez a housewife bored with her mundane life meets a young male and then you guess what happens. Unfaithful at least meets the required criteria of this genre and makes the love scene steamy, and nonsense and explicit sex only scene in Rendez Vous.

The movie becomes more ridiculous when the screenplay conceived by Marjolein Beumer and Dorien Goertzen transforms from being an adulterous tale to a spine tingler just before the climax. There’s hardly any suspense development, and even when the truth about Simone and Michel’s affairs comes to be known, the end feels anticlimactic and the conclusion only feels like a bad aftertaste.

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