Programmed as part of the ‘Pioneer’ strand in the festival this is the first solo feature by Claire Burger who graduated from La fémis as an editor but then went on to make several short films and one part of a compendium film, Party Girl (2014). Ms Burger comes from Forbach in Lorraine and Forbach was the title of her 2008 short film. Real Love is also set in the town. I should say that this was my last film of a long day and I think I struggled a little with the opening sequences. I don’t think this was the fault of the film, but the characters in this family melodrama are not immediately easy to understand and come to terms with. But eventually I became fully engaged and later I found myself thinking a great deal about the film and reflecting on its impact.
This is a film about a father moving towards a potential point of crisis and then recovering – mainly through his interaction with several women. In one sense the narrative might be seen to end conventionally, with the man’s redemption of sorts as part of a public display, but I don’t think his route towards that point is at all conventional or formulaic. In the Press Notes Claire Burger reveals that the story is inspired by her own family history.
Mario Messina (the Belgian actor Bouli Lanners) is separated from his wife Armelle who has left him in the family home with his two teenage daughters. The older daughter Niki is nearly 18 and looking for her independence. Her sibling Freda is 14 and more of a problem for her father. He loves his daughters and attempts to be a ‘good father’ but he struggles to keep house and to cope with his work as a civil servant in a local office. He also has problems with his personal life, especially with his working relationships and especially with the women he meets in in various forms of social interaction. He decides to sign up for a community-based theatre project called ‘Atlas’, the creation of Ana Borralho and João Galante.
‘Atlas’ is a real project that has operated in different parts of Europe. The idea is that individuals from a specific community each contribute something they feel about their town or about their personal lives. This could be a song, a poem or some other kind of performance. The project workers then bring all the individual contributions together into a theatrical presentation. The whole process of generating ideas, rehearsals and final presentation in the local theatre is a form of social interaction. Claire Burger first saw a presentation in Nanterre and was then invited to see another in Charleroi, a Belgian town suffering from industrial decline like Forbach. She then decided to use the project as part of her film. Mario struggles to be part of this and feels compromised because he’s a civil servant and he doesn’t want to criticise his employers by highlighting local social issues – so he turns to more personal issues. The project is based in the town’s theatre and Armelle works as a lighting technician, creating more tension for Mario who doesn’t feel confident knowing she might be watching him.
The film is a familiar form of social realist melodrama and Burger makes some interesting observations when she says that narratives often deal with the rich who have opulent lifestyles to be explored or the poor who have real social issues to deal with. The ‘middle class’ (I think she means the lower middle-class in UK terms) is often considered to be less interesting. Forbach is a town that is losing its richer inhabitants and she felt that focusing on Mario was an important decision. She wanted to use local people in the project and:
I didn’t want lingering shots of industrial landscapes, but shots of the inhabitants’ bodies and faces. I wanted the camera to give them a voice. Those voices, on a personal and collective level, resonate with the story of Mario and his daughters.
She says that representing the strength of the community was also important as the Front National was starting to make big inroads into the town’s political life.
But Mario’s story is about personal interactions with his daughters, with his boss at work and the leading project worker on ‘Atlas’, Antonia amongst others. Claire Burger explains her own situation growing up:
I wanted to draw a portrait of a delicate, sensitive, affectionate man, far removed from clichés of virility. I was raised by a man like that. For Mario, I was inspired by my father’s personality and his relationship to fatherhood and, above all, to passing on knowledge and culture. It was the upbringing he gave us and, to some extent, his feminism that enabled my sister and I to feel strong as women and, in my own case, legitimate as a filmmaker.
In the movie, Mario is overrun by women packing big temperaments. All the women around him are solid and strong, and they force him to reassess . . . The film reflects a time in society when women are expanding their rights and freedom, but the idea was not to portray a man resisting change. Mario changes too; he repositions himself in that context.
Mario is indeed cultured and he is passionate about music. As befits a melo there is plenty of music in the film – all kinds of music. The music is an integral part of the culture of the community and the key to the film’s success is also in the casting, so apart from Bouli Lanners (who comes from not far away over the border and can speak the local dialect), most of the other roles are played by non-professionals who are local or by members of the crew, stepping out from behind the camera. Antonia, the project leader is played by Antonia Buresi from ‘Atlas’. The film is presented in CinemaScope, a format that distinguishes many French films from similar British pictures.
I don’t think Real Love has a UK distributor as yet, but I hope someone decides to go for it. Claire Burger offers something unusual but not that different from the films of the Dardenne Brothers or Ken Loach and Paul Laverty and those films sell in the UK. The film opens in France and Belgium in March 2019.
A Belgian trailer, in French with Dutch/Flemish subs: