For several years Bradford’s International Film Festival offered the opportunity to see anglophone Canadian films that rarely got a UK release. Unfortunately there don’t seem to be any this year. Instead the festival has picked up on the recent successes of Québécois cinema such as the films of Philippe Falardeau, Kim Nguyen, Jean-Marc Vallée, Xavier Dolan and Denis Villeneuve creating a stir wherever they have been shown. Will the next in line be Frédérick Pelletier with Diego Star? I think it deserves to be and already the film has begun to win prizes at international festivals.
I’m a fan of Canadian cinema and very impressed by the recent Québécois films that I have seen and I was pre-disposed to enjoy this film. It didn’t disappoint. Bradford screened a Pelletier documentary short before the feature and this set up expectations with its portrait of a retired seaman and his wife in their small house in the city of Lévis on the southern bank of the St. Lawrence opposite Quebec City. Diego Star uses the same location and tells a simple but powerful story.
The title refers to a cargo ship registered in Cyprus with a crew comprising a Russian captain and a crew from Africa, the Middle East and further afield. The ship breaks down and is to Lévis on the St. Lawrence seaway with one of the biggest shipyards in North America. The crew are offered accommodation in Lévis at the shipping company’s expense while the ship’s problems are investigated. The ship’s second engineer is an experienced sailor from Ivory Coast who tends to be known as ‘Traoré’ since his personal name is too long/difficult to remember. Early on we realise that he is a man of principle who has told the captain several times that the ship’s engine needs to be serviced. Traoré is billeted on Fanny, a young single parent who needs the money for his bed and board to supplement her wage from kitchen work in the shipyard’s cafeteria. At first hesitant about being too friendly towards Traoré, she soon realises that he is a family man who is good with children and she accepts his help with her infant.
The Canadian authorities question the crew about the ship’s service record but most of the crew are prepared to keep quiet as they are still owed their wages for the last trip. Traoré decides to tell the truth believing that the authorities will support him. But he soon discovers that the company have suspended him – withdrawing his right to enter the shipyard. Fanny loses his bed and board allowance and their friendly tentative relationship breaks down. Traoré finds himself without any support in a country he doesn’t know. Diego Star is a bleak tale and, without giving away what happens, there is no artificial happy ending.
I think this is tight, muscular filmmaking with terrific performances by the two leads played by Isaka Sawadogo and Chloé Bourgeois. Both Traoré and Fanny are abused by the system and struggle to maintain relationships in which others let them down. The overall aesthetic is a form of social realism probably more akin to the French mode of Laurent Cantet in Ressources humaines (France 1999) or the earlier work of the Dardennes Brothers than to the social melodramas of Loach in the UK. We do learn about Traoré’s family through the photographs he places in his room and the interaction with Fanny and her child and the film does move into a dramatic final sequence, but always without non-diegetic music. Pelletier doesn’t resort to any kind of conventional narrative devices. He deals in the realities of the lives of sailors far from home and a young woman facing the problems of bringing up a child in difficult economic circumstances. The film looks very good and the freezing Canadian winter (beautifully captured in the stately progress of the snow blower moving down the narrow street) is almost another character in the drama. This was one of the most impressive films that I saw at BIFF and is highly recommended.