Angelina Jolie Pitt’s third film, “By the Sea,” feels like a bloated student thesis project. And, for once, I do not use that term in a completely pejorative manner.
Jolie Pitt’s last directorial outing, “Unbroken,” was such a formulaic piece of studio entertainment that it felt depressingly soulless in its mediocrity. (Her deeply misguided mess of a debut, “In the Land of Blood and Honey,” is best left forgotten.) Here, she seems to be grappling with some fundamentals of cinema: editing, shot choice, shot duration, camera movement. Since Jolie Pitt holds such a position of power in Hollywood that she will likely see many opportunities to step behind the camera again, watching her grow is inarguably a positive thing.
Admittedly, there are far more qualified directors – female or male – deserving of eight-figure budgets to make a personal project. It’s frustrating to think on who lost out on their chance because Jolie Pitt got this one. Still, if she ever wants to take the reins of “Cleopatra” herself, everyone should be thankful she got to make “By the Sea” as a stylistic exercise.
The film is almost pure style, like a sleek perfume or cologne ad drawn out to feature length. Jolie Pitt and her husband, Brad Pitt, play the bitter married couple Vanessa and Roland, estranged practically to the point of their union dissolving. “By the Sea” follows their trip to the luxurious beaches of France from arrival to departure, chronicling their manifold frustrations in languorously broad strokes. Roland galavants off attempting to write his next novel, while Vanessa mostly just lingers around their hotel room smoking cigarettes and throwing shade through her Yves Saint Laurent sunglasses.