Australian filmmaker Gabrielle Brady tells an important tale about the 21st century concentration camps where asylum seekers are processed in ways that dehumanise and are intended to act as a deterrent against others following. Her subject is Australia’s Christmas Island prison which represents the toxic attitude toward migration that many countries have; particularly Britain.
However she constructs the condemnation through metaphors: the millions of migrant crabs on the island and the Chinese folk who take part in ceremonies to guide the ‘hungry ghosts’ – that is those who weren’t buried properly – to peace. The amazing crabs, who migrate to the ocean to lay their eggs, are treated better by the authorities than people trying to find sanctuary in Australia. A ‘lollipop lady’ stops traffic to help them cross; roads are closed; sweepers escort cars to avoid squashing the crustaceans. In the other metaphor, Chinese residents create bonfires and chant to help the ghosts on their way; the asylum seekers are therefore characterised as hungry (for safety) ghosts (as they have no agency as they wait to be processed).
The key migrant narrative is shown through therapist sessions: Peter Bradshaw states these are recreations and as we hear a radio news broadcast stating that anyone talking to the media about detention centres could face up to two years imprisonment that is hardly surprising. It’s a symptom of growing authoritarianism in government that such draconian laws are passed; in the UK non disclosure agreements are increasingly used to avoid embarrassing information being given to the media. It’s a failure of democracy that those in power cannot be held to account.
Unsurprisingly the sessions are harrowing as Poh Lin Lee (playing herself) tries to help the traumatised migrants. Such therapy can only work long term and she is constantly frustrated by the authorities who refuse to give her information about the detainees and ignore her recommendations. She’s living on the island with her family and time is taken to observe their everyday life; I’m not sure what this adds to the documentary.
Brady is to be commended for the film but outrage is probably a more pertinent emotion and although it will manifest itself in audiences with compassion the film cannot work as a call to arms against the disgusting treatment of the most vulnerable in the world. I would have preferred more direct information but that is a light criticism as Brady has made the film she wants which is certainly worth seeing. MUBI.
My short visit to LFF2017 ended with a journey across town to the Hackney Picturehouse. I first visited this cinema a couple of years ago and again we were in the mammoth Screen 1. I was disappointed by the size of the audience since this was the new film by Mahamat-Saleh Haroun, one of just two major international auteurs whose films from francophone Central and West Africa have kept alive the strong reputation of the region over the last ten years. (The other one is Abderrahmane Sissako whose film Timbuktu made a big splash in the UK in 2015.)
Haroun has previously set his films in his native Chad. I missed his 2013 film Gris-Gris which showed at LFF but I don’t think was released in the UK. Gris-Gris and his earlier features Abouna (2002), Daratt (2006) and A Screaming Man (2010) were all set in the Central African country. Prior to A Season in France, he directed a documentary, Hissein Habré, a Chadian Tragedy (2016) about the dictatorship and its fall-out in his own country that led to his exile. His new film, as the title suggests, is set in France – though I’m not sure yet what the reference to a ‘season’ means, unless it’s a satirical reference to a hunting season? Haroun himself is based in France so he knows the issues likely to be faced by asylum seekers such as Abbas (Eriq Ebouaney).
Abbas is an asylum seeker in France after fleeing his home Bangui (capital of the Central African Republic). He has with him his two children, Asma and Yacine, but his wife was killed during the family’s flight from CAR. Abbas was a French teacher in CAR and so was Etienne (a philosophy teacher), who I think might be Abbas’ brother-in-law, another who is seeking asylum. The children call Etienne ‘uncle’ but I did wonder if this was just the common usage of ‘uncle’ for any older male known to the family. Abbas and his children move constantly from one rented or borrowed room to another. Etienne has even less to call home and survives as a doorman/security guard outside a pharmacy. Abbas works on a stall in the market and develops a relationship with Carole (Sandrine Bonnaire) who has a floristry business linked to the market stall and whose family is Polish from a different wave of migration. The strain of the asylum application process is very heavy. Haroun presents the waiting room and the security guards at the office dealing with asylum seekers – but we never see the bureaucrats. Instead the asylum seekers receive official letters. If the strain is too great, the asylum seekers can all too easily ‘fail’ in their attempt to achieve permanent status.
In several ways, A Season in France resembles I, Daniel Blake and other Loachian dramas in which individuals without money or status have to deal with a state bureaucracy. (But it also includes dream sequences, which I can’t recall in a Loach film.) I don’t want to give out spoilers, so I’ll just suggest that the film presents a stark moment of tragedy and a gradual loss of hope but has an ‘open’ ending that in a couple of ways is heart-breaking. This is a tough film and an angry film told in a straightforward way. It needs to be seen and I hope it moves audiences to think again about how Europe treats asylum seekers. In some ways, especially to do with the involvement of the French citizen Carole, the film is similar to Welcome (France 2009). French citizens face severe punishment for helping ‘illegal’ migrants. Like Welcome with Vincent Lindon, A Season in France has the presence of Sandrine Bonnaire, one of the best actors in France. I hope this will attract audiences in Europe. Eriq Ebouaney is very good as Abbas and I was interested to see his very long list of acting roles in French and international cinema. I had thought of Claire Denis’ 35 rhums (2009) because of the presentation of an African family in the grey suburbs of Paris, and especially the railway bridges and rail journeys. Ebouaney has a small part in that film and several others I’ve seen. It’s good to see him now in a lead role. A Season in France opens in France in February 2018. Somebody please pick it up for the UK.
You can download a Press Pack with excellent interviews and background from: http://mk2films.com/wp-content/uploads/sites/4/2016/08/pressbook-a-season-in-france.pdf
Welcome attracted over 1 million admissions in France in 2009 and was also successful in Italy for writer-director Philippe Lioret. It received won awards at festivals and prizes at competitions around Europe. However, in the UK, where part of the story is set, interest was negligible with only a few thousand admissions. Perhaps this was because the small distributor Cinefile had difficulty getting bookings – but was this in turn because of a reluctance to deal with narratives like this? The ‘Welcome’ of the title is deeply ironic and refers to the (presumably British?) doormat in a block of flats/apartments in Calais where the common greeting extended towards migrants attempting to reach the UK by crossing the Channel is anything but ‘welcoming’.
The narrative concerns two couples. Marion (Audrey Dana) and Simon (Vincent Lindon) are a French couple living in Calais. She is a teacher and an activist helping to run a support centre for asylum seekers. He is an ex-swimming champion now working as an instructor at a local pool. Their marriage has broken up, partly because he doesn’t share his wife’s commitment to helping asylum seekers. The other couple are also separated. Bilal (Firat Ayverdi) is a young Iraqi Kurd (17-18) trapped in Calais while his girlfriend Mina (Derya Ayverdi) is now living with her family in London where her father is a restaurant manager. Bilal makes one abortive (and traumatic) attempt to get to England using a people-smuggling gang and then seeks another way. He is a strong athlete who wants to become a professional footballer but now decides to attempt to swim the channel. Searching for a trainer to help him prepare he comes across Simon. Reluctant at first, Simon gradually takes to the boy and realises that by helping him he might have a chance of getting back with his wife. (Simon and Bilal communicate in English – the lingua franca of migrants in Europe.) This unlikely story is apparently based on something Lioret heard about in Calais and his meeting with a young man like Bilal when he spent time living with migrants and supporters. (See this interview with Philippe Lioret.)
Without these two love stories I wouldn’t have had a movie but a documentary about immigrants. I’ve seen many of these documentaries – and they have all been very good – but unfortunately I don’t think people are necessarily moved by them. If people are interested in my film, it’s because it speaks to them emotionally. (Philippe Lioret in the interview above.)
What Lioret says makes sense and I thought the film worked very well. I don’t want to spoil the storytelling by revealing the ending but I did find the central idea difficult. Swimming the Channel is challenging for the most experienced swimmers with full support and seemingly impossible to achieve ‘under cover’. Is this attempt meant to be ‘real’ or symbolic in terms of storytelling? While we are concerned that Bilal might undertake the journey, we are also made aware of the French law (L622-1) that makes it an offence to help illegal immigrants in France. Marion and her co-workers have to work carefully in relation to this law. Simon is more cavalier and risks imprisonment because of the way he acts.
Overall I think the film works in terms of the writing and performances, although I think it is sometimes difficult to have a well-known actor like Lindon alongside much less experienced young actors like Ayverdi. It works in terms of ‘trainer’ and ‘trainee’ but in other scenes it is difficult not to look at Lindon’s performance differently. (As I write this, Lindon’s performance in 2015’s The Measure of a Man which won the Cannes Acting Prize is being lauded on the film’s UK release.) I’m also now conscious of spotting actors like Thierry Godard, prominent in the TV cop show Engrenages shown on BBC4.
The subject matter of the film is now arguably even more compelling since the camp, ‘The Jungle’, in Calais is still there even though its profile in the UK news media is being eclipsed by the tragedy of migrant flows across the Mediterranean and by the furore about immigration deliberately inflamed by the ‘Leave’ campaign in the UK European Referendum. If this kind of story was to appear in the UK it would most likely be in the form of a documentary, possibly for television. The equivalent of a production like Welcome has not, as far as I can remember, happened in the UK since a trio of films by ‘name’ directors in the 2000s. Pawel Pawlikowski’s Last Resort (UK 2000), Michael Winterbottom’s In This World (UK 2002) and Nick Broomfield’s Ghosts (UK 2006). Any one of these would make a good choice for a comparative study with Welcome. It’s also worth noting that it took another French director, Rachid Bouchareb to make a film about the personal stories associated with an international tragedy in London River (France-Algeria 2009), which deals with the aftermath of the 7/7 bombings in London.
Philippe Lioret’s film perhaps focuses on the French couple too much for audiences whose first concern is the fate of the migrants. But the fate of both couples is important. Migrants, whether they are asylum seekers or simply ambitious people wanting the chance for what they perceive as a better life are not necessarily ‘victims’ or ‘heroes’ and those who attempt to help them do so for a range of reasons. The point of a humanist film is to represent all the characters in a story as who they are rather than as characters with specific narrative roles. Welcome is a film well worth seeing in the contemporary climate and it’s still available on DVD.