‘Frankie’ is a pleasantly depressed dramedy

One indie subgenre always delivers: the “unhappy rich people on vacation” variety. The satisfaction of watching two people breaking up in front of a stunning vista is just proven science. This proves to be a winning approach for writer/director Ira Sachs with his latest and loosest film, “Frankie,” a pleasantly depressed ensemble dramedy about the ends of things.

Sachs has another ace in the form of star Isabelle Huppert, the titular Frankie, the nickname used by those closest to Franoise Crmont, a massively famous French movie star who has gathered her tribe in Portugal under circumstances that are initially unclear to the viewer. What’s clear is how glum Frankie’s husband, Jimmy (Brendan Gleeson), exhusband Michel (Pascal Greggory), son Paul ( Jrmie Renier), stepdaughter Sylvia (Vinette

Robinson) and her family are. Joining the fray is a hairdresser, Ilene, (Marisa Tomei), whom Frankie hopes to set up with Paul. But she arrives with an unexpected companion (Greg Kinnear), a perfectly nice guy whom she doesn’t even seem to like that much.

As Frankie sheds jewelry and her kids whisper about a trust, we come to realize the trip, which is about the end of relationships, is about the ultimate ending: a life. Frankie has terminal cancer, and the trip is a moment to wrap up her affairs, familial and financial. As her husband and exhusband try and persuade her to plunge into healing holy waters, Frankie plunges into her memories (and the hotel pool), looking back and at her life, wondering about her legacy and worrying about her unhappy kids.

The appeal of “Frankie” is yes, its gorgeous setting, and its stars, but also just how livedin it feels. It’s a comfortably chic peek into a world of massive privilege that’s also an incredibly cozy space in which to spend some time, despite how uncomfortable its occupants seem. No one inhabits this world quite like Huppert and Tomei, two movie stars for whom effortless is easy. Frankie and Ilene seem the most at ease moving through this space, perhaps because they’re so present in time. Huppert always seems otherworldly, so she stands out against the landscape. But she’s the only family member who surrenders to the whims of time, whether crashing a birthday party or succumbing to the forest floor.

“Frankie” invites the audience along, and the unique experience of time is somewhat intoxicating, the mere invitation to coexist with them. The plot of “Frankie,” like so many of the characters, meanders, aimlessly at times, but like an expensive vacation, it’s utterly lovely to experience and surprising whenit’sover.

Sony Pictures Classics / Contributed photo Marisa Tomei, left, as Ilene Bianchi, and Isabelle Huppert, as Françoise Crémont, in the film “Frankie.”