Tag Archives: Film

Monthly Film (November)

Capitaine Conan (Captain Conan) 1996
by Bertrand Tavernier

CAPTAIN CONAN POSTER FOR MAILThursday 20th November 2014 – 5.45pm
at
Sri Lanka Foundation
No.100, Sri Lanka Padanama Mw,
Independence Square,
Colombo 7.

 

 
 
 
 
 

Synopsis

Bulgaria near the end of World War I: Conan, warrior and wolf, leads a band of 50 ruthless French fighters who love hand-to-hand combat. Their motto: “We forgot to take prisoners, Captain.” At war’s end, the unit goes to Bucharest, where Conan tries to keep them out of trouble, defends them when they behave as warriors, and finds he’s unsuited for peacetime.

His friendship with Norbert, a teacher turned lieutenant, is tested when Norbert accepts a job as court-martial prosecutor because he’s learned that Conan will be facing charges and he wants to protect his friend. When they are sent to the Russian border to fight Bolsheviks, Conan is back in his element and Norbert is off the hook.


Les Balkans, septembre 1918. Alors que l’armistice est signe en France, seule l’armée d’Orient n’est pas démobilisée et reste en état de guerre. Casernes dans Bucarest, les soldats sèment le désordre, pillent et tuent. Norbert a la delicate mission de faire condamner les coupables, les hommes du capitaine Conan, son ami a qui l’on doit, sous le commandement de Franchet d’Esperrey, la prise du mont Sokol. Malgré la fureur de Conan, qui défend ses soldats envers et contre tout, Norbert fera son devoir.

Reviews of the film

Bertrand Tavernier’s tough, contemplative wartime epic ”Capitaine Conan” unfolds in historical limbo, set among French troops who continue fighting in the Balkans even after the Armistice ending World War I has been declared. That atmosphere of strife and confusion ably mirrors the film’s moral climate, in which Mr. Tavernier brings his characteristic acuity to bear in weighing the meaning of combat and the ethics of a true warrior. Conan (Philippe Torreton), the film’s brave and stubborn hero, is a fighter by nature, for better and for worse.

In a vast yet subtle film that was a major winner of last year’s Cesar awards in France (Mr. Tavernier’s direction and Mr. Torreton’s formidable performance were both honored), a true story becomes the starting point for an elaborate moral inquiry. ”Capitaine Conan” is based on a 1934 autobiographical novel by Roger Vercel, who presents himself as the story’s resident ethicist, a solemn young officer named Lieutenant Norbert (Samuel Le Bihan).

By JANET MASLIN ~ New York Times

Depuis La Vie et rien d’autre et La Guerre sans nom, on sait à quel point Tavernier s’intéresse au versant caché des conflits. Pour l’armée d’Orient, la guerre de 14-18, ce fut plutôt 14-19 : après l’armistice, celle-ci n’est pas démobilisée. Tavernier accuse. L’armée et ses généraux guignols qui n’ont aucune conscience de ce qui se passe sur le terrain. L’injustice de la guerre qui contraint la société à fabriquer des meurtriers pour les réprouver ensuite. Dans son dénouement, Capitaine Conan est d’une violence glacée. Après les horreurs de la guerre, les horreurs de l’après-guerre : la culpabilité et l’inactivité qui rongent. Avec ce coup de poing magnifique, Tavernier a gagné un césar, et son acteur principal, l’étonnant Philippe Torreton, aussi. Mais c’est l’ensemble de la distribution qui est remarquable.

 

Isabelle Danel ~ telerama.fr

Apocalypse: World War I

CINEMA – CONFERENCE
Colombo – Saturday 8th November 4.00 pm and Sunday 9th November 4.00 pm
@ National Film Corporation
Colombo 7

French Historian Dr Amaury Lorin

Sri Lankan Historian Dr K M de Silva

Front“Apocalypse, the First World War ”
“Apocalypse, la Première Guerre Mondiale”

Documentary series by Isabelle Clarke
and Daniel Costelle

In French with English Subtitles

In the trenches, in the minds of soldiers, rulers and through the everyday life of civilians at home, discover one of the most devastating conflicts of humanity.

Dans les tranchées, dans la tête des soldats, des gouvernants et à travers le quotidien des civils à l’arrière, découvrez l’un des conflits les plus dévastateurs de l’humanité.

Apocalypse, the First World War is a television series retracing the history of the Great War in five episodes. It brings together well-known and unpublished period documents and chronicles the major events, based on images of restored and colorized archives.

The sacrifice of an entire generation could it be avoided? How such a cruel and total conflict could be possible? How men and women have been able to endure this horror for four long years? The movie tries to answer these fundamental issues through a strategic and comprehensive approach, but, above all, in an intimate and sensitive approach.

ww1-1Apocalypse, la 1ère Guerre Mondiale est une série télévisée retraçant l’histoire de la Première Guerre mondiale en cinq épisodes. Elle regroupe des documents d’époque connus ou inédits et relate les grands événements de la guerre, basés sur des images d’archives restaurées et colorisées.

Le sacrifice d’une génération entière aurait-il pu être évité ? Comment un conflit aussi cruel, total, a-t-il été possible ? Comment les hommes et les femmes ont-ils pu supporter cette horreur pendant quatre longues années ? La série essaye de répondre à ces questions fondamentales par une approche stratégique et globale, mais aussi et surtout par un regard intime et sensible.

THE GREAT WAR (LA GRANDE GUERRE) (1914 – 1918)
World War I, described as “total” has reached a scale and intensity hitherto unknown. Over 60 million soldiers took part, about 9 million people died and 20 million were wounded. This immense conflict led to many geopolitical changes, which profoundly altered the course of the twentieth century.

The spark that lit the war came on the 28th of June 1914, when a young Serbian nationalist of Bosnia assassinated the heir of the Austro-Hungarian throne and his wife. Requirements of vengeance of Austria- Hungary (strongly encouraged by Germany) against the Kingdom of Serbia led to the activation of a series of alliances that forced several European powers to embark on the road of war. Many of these nations headed empires spanning on several continents that explains the global range of the conflict. Hence, the fights took place on several fronts especially in Europe, but also in small part of Asia, Oceania, Africa and North Atlantic.

La Première Guerre mondiale, qualifiée de totale, a atteint une échelle et une intensité inconnues jusqu’alors. Plus de 60 millions de soldats y prirent part, environ 9 millions de personnes moururent et 20 millions furent blessées. Cet immense conflit entraîna de nombreux changements géopolitiques modifiant profondément le cours du XXe siècle.

L’étincelle qui provoqua la guerre survint le 28 juin 1914, lorsqu’un jeune nationaliste serbe de Bosnie parvint à assassiner l’héritier du trône austro-hongrois et son épouse. Les exigences de vengeance de l’Autriche-Hongrie (fortement encouragée par l’Allemagne) à l’encontre du Royaume de Serbie menèrent à l’activation d’une série d’alliances qui obligèrent plusieurs puissances européennes à s’engager sur la voie de la guerre. Plusieurs de ces nations étaient à la tête d’empires s’étendant sur plusieurs continents, ce qui explique la portée mondiale du conflit. Ainsi, les combats se déroulèrent sur différents fronts surtout en Europe, mais aussi en partie en Asie, Océanie, Afrique, ainsi que sur l’Atlantique Nord.

Conference

Colonial troops in World War One
Global context, British Raj and Sri Lanka, 1914-18

Conference by

French Historian Dr Amaury Lorin
Dr Amaury Lorin, PhD History (Political Sciences, Paris), is a French Historian and Journalist. A Member of the Asian Society and a former Research Fellow at the French School of Asian Studies, he has worked for twenty years on Asia, where he has made multiple long-term stays (China, Vietnam, Cambodia, Myanmar). Dr Lorin was awarded the French Senate PhD Prize 2012, the French Academy for Overseas Sciences Auguste Pavie Prize 2006, and the French War Veterans Writers Prize 2006.

ww1-4Dr Amaury Lorin, docteur en Histoire (Science Po, Paris), est un historien et journaliste français. Membre de la Société asiatique et ancien chercheur à l’École française d’Extrême-Orient, il a travaillé pendant vingt ans sur l’Asie, où il a fait plusieurs séjours de longue durée (Chine, Vietnam, Cambodge, Birmanie). Dr Lorin a reçu le Prix de la thèse du Sénat en 2012, le Prix Auguste Pavie -Académie française des sciences d’outre-mer en 2006 et le Prix des écrivains des anciens combattants français en 2006.

Sri Lankan Historian Professor K M de Silva
Professor Kingsley Muthumuni de Silva is a Sri Lankan academic, historian and author. A former lecturer of history at the University of Ceylon, Peradeniya, de Silva has written numerous books on Sri Lankan history including the highly acclaimed A History of Sri Lanka.

He was educated at the University of Ceylon, Peradeniya from where he received a BA degree in history. He later received a Ph.D from the University of London for his research into the social policy of missionary organisations in the mid-19th century. After graduation de Silva started teaching at the University of Ceylon, Peradeniya. He was made chair of Sri Lanka history at the university in 1969. He held this position until 1995.

De Silva was awarded a D.Litt degree by the University of London in 1991. He founded International Centre for Ethnic Studies in 1982 and served as its chairman and executive-director. He was awarded the 2002 Fukuoka Asian Culture Prize in the academic category.

ww1-2

A Eurocentric vision of the First World War would unfairly ignore the sacrifice of colonial troops from across the world that courageously fought in Europe. Indeed, more than 4 million non-westerners soldiers served in the European and US armies between 1914 and 1918. In 1914, Britain and France had the two largest colonial empires in the world, spreading across Africa and Asia, therefore, the conflict was necessarily soon to become a world war. The call to Empire was massive in the British case: more than 2.7 million men served in four years, which is to say almost half of the total British mobilized men (5.7 millions). The conference analyses the attitude of European colonizers towards colonized subjects and the impact and post-war consequences of this intense war experience on the British Raj and Sri Lanka.

ww1-3
Une vision « eurocentrée » de la Première Guerre mondiale serait injuste car elle ignorerait le sacrifice des troupes coloniales à travers le monde. En effet, plus de 4 millions de soldats non Occidentaux servirent dans les armées européennes et américaines entre 1914 et 1918. En 1914, à travers l’Afrique et l’Asie, la Grande-Bretagne et la France avaient les deux plus grands empires coloniaux. Dans ces conditions, la Grande Guerre allait nécessairement bientôt devenir une guerre mondiale. L’appel aux forces de l’Empire fut dès lors massif dans le camp britannique : plus de 2,7 millions d’hommes servirent en quatre ans, c’est-à-dire près de la moitié du total des hommes mobilisés (5,7 millions). La conférence analyse l’attitude des colonisateurs européens à l’égard des sujets colonisés et les conséquences de l’après-guerre sur le Raj britannique et Sri Lanka.

Day 1 – Saturday
8th November
4:00 pm – Conferences
5:30 pm – Tea break
6:15 pm – Screening of episodes 1 & 2 (104 minutes)
8:15 pm – End of day 1
Day 2 – Sunday
9th November
4:00 pm – Screening of episodes 3, 4 & 5 (156 minutes)
6:30 pm – End of day 2
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Monthly Film (September)

L’Intrus (The Inruder) 2004
by Claire Denis

L'INTRUS poster for mailThursday 18th September 2014 – 5.45pm
at
Sri Lanka Foundation
No.100, Sri Lanka Padanama Mw,
Independence Square,
Colombo 7.

 

 

 

 

Synopsis

Louis Trebor (Michel Subor), an ex-mercenary living in the Jura Mountains, is increasingly suffering from a heart condition. He abandons his home, his beloved dogs, and his estranged son (Grégoire Colin) in pursuit of a black market heart transplant in Korea before traveling to Tahiti, where he spent time in his youth, in hopes of reconnecting with a son he’s never met.

A la veille d’une transplantation cardiaque, un homme malade décide de quitter la montagne où il mène une existence solitaire pour partir vers les îles à la recherche d’un passé et d’un paradis perdus.

Reviews of the film

Magnificent is how in Claire Denis custody, across the film, the same slow, hypnotic rhythm, the same distance, half fascinated mid-familiar, vis-à-vis its main character. The same sweetness that emerges images cuts both ways: a kind of spell that takes the form of a mysterious poison, inoculated into the narrative.

“Magnifique est la manière dont Claire Denis garde, d’un bout à l’autre du film, le même rythme lent et hypnotique, la même distance, mi-fascinée mi-familière, vis-à-vis de son personnage principal. La douceur même qui se dégage des images est à double tranchant : une sorte d’envoûtement qui prend la forme d’un venin mystérieux, inoculé goutte à goutte dans le récit.”

~ Vincent Malausa, Cahiers du Cinéma

Monthly Film (July)

Du vent dans mes mollets (The Dandelions) 2012
by Carine Tardieu

POSTER FOR MAILThursday 17th July 2014 – 5.45pm
at
Sri Lanka Foundation
No.100, Sri Lanka Padanama Mw,
Independence Square,
Colombo 7.

 

 

 

 

Synopsis

Rachel, shy little 9 year old, loved by her father and stifled by a possessive mother, meets Valérie, a fearless and shameless girl of her age. With her new friend, she engages to profanity, indecency and nonsense, and opens up to life.

Rachel Gladstein (Juliette Gombert), petite fille timide de neuf ans, aimée par son père (Denis Podalydès) et étouffée par une mère juive possessive (Agnès Jaoui), fait la connaissance à la rentrée des classes de Valérie (Anna Lemarchand), une fillette intrépide et effrontée de son âge. Rachel, influencée par sa nouvelle amie, se livre à son tour aux grossièretés, aux gestes scabreux et aux bêtises. Elle dort avec son cartable sur le dos à la veille de la rentrée des classes, et doit consulter la psychologue Mme Trebla (Isabella Rossellini) qui va entrer dans son intimité.

En parallèle une amitié s’installe entre les parents des deux fillettes, et notamment entre Michel Gladstein, installateur chez Mobalpa et Catherine (Isabelle Carré), la mère divorcée de Valérie. La jalousie naissante de Colette Gladstein face à ce rapprochement la portera à s’interroger sur son couple qui souffre de routine et de lassitude.

Reviews of the film

“Tardieu adapted the book with original scribe Moussafir, and they have imposed a more classical story structure on what was a motley compilation of recollections (inspired by a one-woman show). But in the attempt to construct a fully formed family, in which each member has her or his cross to bear, what made the original such a compelling read — namely, the outlook of a sassy 9-year-old on a world she only partially comprehends — is further pushed into the background. The confessional visits to Madame Trebla are now only perfunctorily connected to the narrative, and the mother-daughter bond is but one of several occasionally shifting relationships. The fact that “The Dandelions” was cut by three editors is of no help in keeping things focused.

Thankfully, the appealing cast ensures auds will stick with the characters throughout. Jaoui, of Tunisian-Jewish descent herself and as plain and dowdy as she’s ever appeared onscreen, credibly incarnates the overly protective matriarch who’s so focused on making the world a better place for her daughter that she sort of forgets about Rachel’s particular needs.”

– Boyd van Hoeij, Variety

 

Monthly Film (June)

Lumumba 2000
by Raoul Peck

lumumba-posterThursday 19th June 2014 – 5.45pm
at
Sri Lanka Foundation
No.100, Sri Lanka Padanama Mw,
Independence Square,
Colombo 7.

 

 

 

 

Synopsis

The true story of the rise and fall of the formerly vilified and later redeemed leader of the independent Congo, Patrice Lumumba. Using newly discovered historical evidence, Haitian-born and Congo-raised writer and director Raoul Peck renders an emotional and tautly woven account of the mail clerk and beer salesman with a flair for oratory and an uncompromising belief in the capacity of his homeland to build a prosperous nation independent of its former Belgium overlords.

Dans l’infinie beauté nocturne d’une savane africaine, deux hommes ont reçu pour mission de découper trois cadavres. De les brûler. De les enterrer. Ici s’achève la vie de Patrice Lumumba, qui fut durant trois mois Premier Ministre du Congo nouvellement indépendant. Mais ici commence également son histoire…

Reviews of the film

“Why does the United States so often back the reactionary side in international disputes? Why do we fight against liberation movements, and in favor of puppets who make things comfy for multinational corporations? Having built a great democracy, why are we fearful of democracy elsewhere? Such thoughts occurred as I watched “Lumumba,” the story of how the United States conspired to bring about the death of the Congo’s democratically elected Patrice Lumumba–and to sponsor in his place Joseph Mobotu, a dictator, murderer and thief who continued for nearly four decades to enjoy American sponsorship.” – Roger Ebert – rogerebert.com

“This is a movie about chaos and regret, focusing on the unleashing of forces greater than any one person could hope to handle and the carnage, however necessary, left in their wake. Mr. Peck’s gambit works, and the result is a great film and a great performance. ” – Elvis Mitchell, New York Times

Awards

  • Best Feature Film – Acapulco Black Film Festival 2001
  • 2nd place Best African film movie – Milan African Film Festival 2001

Monthly Film (May)

Rapt (Abduction) 2009
by Lucas Belvaux

RAPT POSTER for mailThursday 22th May 2014 – 5.45pm
at
Sri Lanka Foundation
No.100, Sri Lanka Padanama Mw,
Independence Square,
Colombo 7.

 

 

 

 

Synopsis

Industrialist and a man of power, Stanislas Graff is kidnapped one morning in front of his building by a commando of gangsters. Then began an ordeal lasting several weeks. Cut, humiliated, denied his humanity, he resists leaving no outlet to his captors. He accepts everything without revolt, without art, without complaint, by the dignity it meets barbarism. Cut off from the world, receiving only scraps of information by his captors, Graff does not understand that nobody wants to pay the amount that would set him free. Outside, his world crack as the revelation of his personality. All he had managed to keep in privacy, his secret garden is revealed to his family by the police investigation or by that of the press. Everyone finds a man who is a far cry from the one imagined.

Homme d’industrie et de pouvoir, Stanislas Graff est enlevé un matin comme les autres devant son immeuble par un commando de truands. Commence alors un calvaire qui durera plusieurs semaines. Amputé, humilié, nié dans son humanité, il résiste en ne laissant aucune prise à ses ravisseurs. Il accepte tout sans révolte, sans cri, sans plainte, c’est par la dignité qu’il répond à la barbarie. Coupé du monde, ne recevant que des bribes d’informations par ses geôliers, Graff ne comprend pas que personne ne veuille payer la somme qui le délivrerait. Au-dehors, son monde se fissure au fur et à mesure de la révélation de sa personnalité. Tout ce qu’il avait réussi à garder d’intimité, son jardin secret, est révélé à sa famille par l’enquête de police ou celle de la presse. Chacun découvre un homme qui est loin de ressembler à celui qu’il imaginait.

Reviews of the film

“A police procedural movie turns into a moral state-of-the‑nation picture and a rather good one. ” – Philip French – The Observer

“The tone of the film Belvaux is very dry, rigid, serious (…) Belvaux merely describes the consequences of such a story (basically, no matter how he may have inspired by the kidnapping of Baron Empain in the 1970s) in the context of our time and the state of development of our consciences and our societies.” – Jean-Baptiste Morain, Les Inrockuptibles

Awards

  • Nomination for Best French Film ~ César 2010
  • Lucas Belvaux ~ Nomination for Best Director – César 2010
  • Yvan Attal ~ Nomination for Best Actor in a leading role – César 2010
  • Anne Consigny ~ Best Supporting Actress – César 2010

Monthly Film (April)

Couleur de peau : Miel (Approved for Adoption) 2012
by Jung Sik-jun, Laurent Boileau

couleur-de-peau-miel-poster

Thursday 17th April 2014 – 5.45pm
at
Sri Lanka Foundation
No.100, Sri Lanka Padanama Mw,
Independence Square,
Colombo 7.

 

 

 

 

Synopsis

There are 200,000 Korean children scattered throughout the world since the end of the Korean War. Born in 1965 in Seoul and adopted in 1971 by a Belgian family, Jung is one of them.

Adapted from the graphic novel Skin Color: Honey, the film returns to a few key moments in the life of Jung: the orphanage, the arrival in Belgium, the family life, difficult adolescence … It tells us events which led him to accept his intermingling. Uprooting, identity, integration, motherly love, as stepfamily and mixed, are all themes with poetry, humor and emotion.

Realized in a stunning blend of real and cartoon images, between present and memories, occasionally using historical and family archives, Skin Color: Honey is an autobiographical narrative animation exploring new lands.

Ils sont 200 000 enfants coréens disséminés à travers le monde depuis la fin de la guerre de Corée. Né en 1965 à Séoul et adopté en 1971 par une famille belge, Jung est l’un d’entre eux.
Adapté du roman graphique Couleur de peau : Miel, le film revient sur quelques moments clés de la vie de Jung : l’orphelinat, l’arrivée en Belgique, la vie de famille, l’adolescence difficile… Il nous raconte les événements qui l’ont conduit à accepter ses mixités. Le déracinement, l’identité, l’intégration, l’amour maternel, tout comme la famille recomposée et métissée, sont autant de thèmes abordés avec poésie, humour et émotion.
Réalisé dans un étonnant mélange d’images réelles et dessinées, entre présent et souvenirs, utilisant à l’occasion des archives historiques et familiales, Couleur de peau : Miel est un récit autobiographique d’animation qui explore des terres nouvelles.

Reviews of the film

“Testimony without pity, a poignant authenticity.” – Marie-Noëlle Tranchant, Le Figaro

“Like Marjane Satrapi, Jung told, through the graphic novel, his childhood destiny buffeted by the winds of history – like her, he suffered exile and denied its origins . before accepting Their style, however, is the opposite: black and white and authoritarian traits in Persepolis oppose smooth lines and gray and white washes of color skin. Honey (… ) the sepia tone replaces the monochrome and inserts live image punctuate a narrative rich in emotion, humor and poetry that caters to both small and large. These techniques make the film look like a kaleidoscope sensations and moods whose poignant melancholy refers to the work of Isao Takahata.”
– Christophe Narbonne, Première

Awards

  • Audience Award and UNICEF 1st Price ~ International Festival of Animated Film Annecy 2012
  • Grand Prize and the Audience Award ~ Festival of Animated Film in Zagreb 2013

Monthly Film (March)

Le Salaire de la Peur (The Wages of Fear) 1953
by Henri-Georges Clouzot

Salaire de la peur POSTER for mail

Thursday 20th March 2014 – 6.00pm
at
Sri Lanka Foundation
No.100, Sri Lanka Padanama Mw,
Independence Square,
Colombo 7.

 

 

 

Synopsis

In a desert town in Central America, burnt under the sun, four adventurers accept a suicide mission against a premium of $ 4,000: conveying 500 km, two truckloads of nitroglycerin to extinguish a burning oil wells. The manager of the SOC, the American company practicing drilling in the country, tested and chose Mario, Luigi, and Bimba Smerloff. Jo, a small Parisian gangster off the plane, is too old to travel. But at the moment of departure, Smerloff is found and Jo, who is no stranger to the disappearance, takes his place. The journey is long and dangerous …

Dans un village désertique d’Amérique centrale, brûlé par le soleil, quatre aventuriers acceptent une mission suicide contre une prime de 4.000 dollars : convoyer sur 500 kilomètres, deux camions chargés de nitroglycérine pour éteindre l’incendie d’un puits de pétrole. Le gérant de la SOC, la compagnie américaine qui pratique des forages dans tout le pays, procède à des essais et choisit Mario, Luigi, Bimba et Smerloff. Jo, un petit gangster parisien débarqué de l’avion, est trop vieux pour être du voyage. Mais au moment du départ, Smerloff est introuvable et Jo, qui n’est pas étranger à cette disparition, prend sa place. Le voyage est long et périlleux…

Reviews of the film

Upon its original release, Bosley Crowther of The New York Times wrote “The excitement derives entirely from the awareness of nitroglycerine and the gingerly, breathless handling of it. You sit there waiting for the theatre to explode.”

In 1982, Pauline Kael called it “the most original and shocking French melodrama of the 50s.”

In 1992, Roger Ebert stated that “The film’s extended suspense sequences deserve a place among the great stretches of cinema.”

In 2010, the film was ranked #9 in Empire magazines “The 100 Best Films of World Cinema.”

Awards

  • Palme d’Or ~ Cannes Film Festival 1953
  • Golden Bear ~ Berlin Film Festival 1953
  • BAFTA Best Film ~ British Film Institute 1955

Monthly Film (February)

Versailles (2008)
by Pierre Schoeller

VERSAILLES POSTER for mail

Thursday 20th February 2014 – 6.00pm
at
Sri Lanka Foundation
No.100, Sri Lanka Padanama Mw,
Independence Square,
Colombo 7.

 

 

 

Synopsis

A young mother Nina and her son Enzo find themselves sleeping on the streets of Paris. Their tentative lifestyle eventually leads them to Versailles. Out in the woods near the palace, they encounter a man named Damien who lives cut off from the rest of the world. Nina and Enzo decide to take refuge with him over night. The next morning, Nina appears to have disappeared. As days and seasons pass, Damien and Enzo grow fond of each other, unaware that one day they will have to leave the safe haven of the hut.

Paris, aujourd’hui. Un enfant et sa jeune mère dorment dehors. Nina est sans emploi, ni attaches. Enzo a 5 ans. Leur errance les conduit à Versailles. Dans les bois, tout près du château, un homme vit dans une cabane, retranché de tout. Damien. Nina passe une nuit avec lui. Au petit matin, Nina laisse l’enfant et disparaît. À son réveil, Damien découvre Enzo, seul. Au fil des jours, des saisons, l’homme et l’enfant vont se découvrir, s’apprivoiser, s’attacher. Leur lien sera aussi fort que leur dénuement. Un jour pourtant il faudra quitter la cabane… Un premier long-métrage très remarqué au Festival de Cannes et l’un des derniers rôles de Guillaume Depardieu, exceptionnel en père qui s’invente.

Reviews of the film

“The film’s anti-naturalism is sufficient in itself (in contemporary French cinema), to propose our admiration” – Cahiers du cinema

“Everything is in the choice of this extraordinary actor [Depardieu] that opens a meteoric film renaissance.” – Le Monde

Awards

  • Official Selection ‘Un Certain Regard’ ~ Cannes Film Festival 2008
  • Nomination for Caméra d’Or ~ Cannes Film Festival 2008
  • Guillaume Depardieu ~ Nomination for Best Actor in a leading role – César: National Film Awards of France 2009