This film is showing as part of ‘Summer of French Cinema 2015‘, six films screening across six different cinemas offered by a partnership between Picturehouse Cinemas and the French film export agency UniFrance. I’m guessing that this means that the three films won’t get a full UK release so we should be thankful that Picturehouse is providing this opportunity to see them. However, they are showing just once, each one seemingly randomly scattered across the standard film programmes at the participating cinemas (three different films at each cinema). You can download the full programme here – there are further screenings on July 20, 27 and August 3. A further selection of French films can be watched online at Vimeo: https://vimeo.com/unifrancefilmspro/vod_pages
I’m not sure quite how to take Vie sauvage. It is an adaptation of a non-fiction book, a ‘real life story’ written by the central character and directed by Cédric Khan. Khan is probably best known in the UK for 2002’s Roberto Succo. That too was an adaptation of a real life crime story and there are some similarities with Vie sauvage, including the focus on a man ‘on the run’ from the police. However, it would be misleading to think of this new film as a crime suspense narrative. The central character is ‘Paco’, a man of strong convictions played by the always excellent Mathieu Kassovitz complete with beard and a ponytail. Paco is a refusenik in terms of contemporary capitalist society and at the start of the narrative we find him living with ‘Nora’ (names in this story are often in quotes) and their three boys enjoying an alternative lifestyle outside urban French society. Nora (Céline Sallette) ‘incites’ the drama by deciding that she’s had enough of living outside society and takes her boys back to her parents’ home. Paco is furious and tries to take them back. The law eventually places the boys with Nora but after one of his ‘access visits’ Paco flees with the two youngest boys (the eldest, Thomas, elects to stay with his mother – he is Paco’s stepson but Tsali and Okyesa are Paco’s sons). The trio then successfully evade the police search for the next eleven years. The original story title is translated by Google as something like ‘Eleven years outside the system under the star of freedom’ – clumsy but not a bad description.
During this long period ‘on the run’, the trio have to change names and stories as they move from one commune to another, working on the land with the two boys being ‘home schooled’. Paco also attempts to instil his own ideas about living with nature and without modern technologies and consumer culture. The boys (who are six and seven when their adventure begins) at first take it all as a game but of course they will become ‘normal’ teenagers and rebel against parental authority when they are older. Nora does not reappear until the end of the narrative (apart from in a flashback) and it is interesting that the focus is on the father. In the ‘real’ story the French media told the story from the mother’s perspective, emphasising her loss as she and the police searched for the boys (with Paco facing two years in prison). I can’t really ‘spoil’ this narrative but I won’t describe the plot in detail. Since this is not a Boyhood type project, Kahn faces the problem of needing at least two pairs of actors to play the boys. Possibly he would have been better advised to have three sets but these multiple pairings are always difficult to make work and here I found the younger actors more credible. This isn’t a criticism of the older pair, more an issue about the big leap from small boys to young men.
Beautiful to look at with great use of natural light (camera by Yves Cape), always engaging and interesting as a narrative, I’m still not quite sure about the film – although I would certainly recommend it. The main issue is the mix of genres. I’ve already suggested that the suspense elements only carry parts of the narrative and at other times the film is perhaps best described as a family drama. It seems fairly obvious what attracted the Dardenne brothers to act as co-producers (it is an official French-Belgian production). The boys and their relationship with their father could easily appear in a Dardenne film, but I’m not sure about the long story time over so many years. The Dardenne films are also more intense as realist melodramas. As I watched the film I reflected on what might be termed the rural/pastoral realism of French cinema as featured in something like Renoir’s Toni (1934) or Will It Snow For Christmas? (1996). There are also moments when the film seems to draw on American cinema, especially Westerns, in those scenes in which the boys are happy rebels having fun holed up in a shack in the hills, plucking chickens and bombarding each other with feathers. The director himself was brought up in a rural commune in the 1970s and these scenes do indeed feel authentic. I was amused, however, to discover that the commune in which Paco first met Nora was based around tepees and Native American culture. I guess there is a sense in which Paco tries to take his sons through a kind of ‘natural’ rites of passage.
If you get the chance to see this film you might wish to compare it with The Wonders (Italy/Ger/Switz 2014) released in the UK today. The films have very similar elements but produce rather different narratives. Both are well worth seeing.
Trailer with English subs: