You have (re)seen the Palme d’or 2015 yesterday evening on France 2 ?
The second channel proposed yesterday for the first time Dheepan, the drama from Jacques Audiard, who received the Palme d’or in 2015. A reward well-deserved for the First, which was acclaimed at its output. Small reflection for those who have (re)seen on this occasion.
Dheepan is a fable painful and powerful [critical]
Dheepan tells the exodus of a warrior Tamil – and the family that he invents to escape – in the suburbs of paris. On such a pitch, it was feared that Audiard directed his great film on immigration, a genre eminently case-mouth in which the demonstration of moral often takes precedence over the power of narrative and its staging.
But from the opening scene, Audiard place his film on a lot more mythical and warrior. Then there is this plan strange where we see Dheepan and other Tamils move forward slowly in a curtain of acrid smoke. They all wear a cap light on the head. This lasts for a few seconds, during which we wonder if it is a tribal adornments that Tamils arboreraient during a festival of the dead, or a helmet warrior weird which would be the reverse of camouflage – on the contrary there to scare the enemy. Parade high speed shots vaguely settlers in our brain. Just after it includes the famous helmet is for sale for a few euros, as all of the gadgets contained in the box hanging on the neck of Dheepan, who circulates between the tables of a terrace in paris in the indifference vaguely jaded customers, which not, do not want a lighter of 50 centimeters to 3 euros, no thanks. The snapshot of a tribal to that of the Sri Lankan seller carnations, and gewgaws that flee from the police – and Dheepan to run to escape the police custody.
Jacques Audiard : “I don’t want to defend myself as of the end of Dheepan…”
Retroactively we think back to that plan, and all its strength irrigates our brain. Dheepan is a character from a mythology of the exodus, a tragic hero who must survive in the midst of all humiliations, a warrior became a listed subsidiary and grotesque so-called advanced societies. We look back at his eyes during those few seconds, as cold and determined as desperate. Non – Dheepan will not be a movie social, but the story of a man forgotten of his God (Ganesh appears in other plans as short as heavy of meaning, throughout the film), a fable of violent and modern take on the survival. In five seconds we can also understand that Dheepan will no doubt be as much a social drama than a war film.
Daniel de Almeida
Tahar Rahim speaks to A Prophet, by Jacques Audiard : “It was crazy !”