The Sisters Brothers (2018)

I took a break last week because I was on holiday (although didn’t end up leaving home), but this week I’ll be building up to my Global Cinema entry on Belgium (on Saturday). As a loose theme, then, I’m covering films with a Belgian production credit, though it turns out a lot of films with some Belgian financing aren’t particularly ‘Belgian’, whatever that might amount to. This one, for example, is an American film by a French director, also co-produced by partners from Belgium, Romania and Spain, so it spans plenty of countries, without really representing any of them exactly — except of course America, where it’s set. Still, it’s a way of looping in a lot of not very Belgian films into consideration this week.


This Western crime comedy drama is directed by a French man with an enormous number of production deals (the first title card of the film, as it builds up all its production and co-production credits, is itself somewhat hilarious) and surely has a lot of money on-screen in what I assume is a faithful rendering of Oregon and California in the mid-19th century. However, it does strike rather an odd tone, a sort of laidback melancholia with bursts of violence and goriness that leads up to a dream-like ending, a story of two brothers (Reilly and Phoenix) who have a quest, even if that quest largely loops back to a consideration of their own family and the way they have been brought up. The acting is, as you might expect, very solid, with no notable let-downs, and Phoenix is a particular good fit to his character. Some of the digital photography seemed just a little on the ‘uncanny’ side, but maybe that was just me or the screening I was at. In any case, there’s plenty to like here, but it is at the very least meandering.

The Sisters Brothers film posterCREDITS
Director Jacques Audiard; Writers Audiard and Thomas Bidegain (based on the novel by Patrick deWitt); Cinematographer Benoît Debie; Starring John C. Reilly, Joaquin Phoenix, Jake Gyllenhaal, Riz Ahmed; Length 121 minutes.
Seen at Curzon Bloomsbury, London, Saturday 20 April 2019.

Dheepan (2015)

I get the sense that as a Palme d’Or winner at the Cannes Film Festival, this was a controversial choice, but when you watch it, it makes total sense. Quite aside from its genre trappings (which only really assert themselves towards the end, when the vengeance becomes rather more gung-ho), it’s a warmly humanist film about refugees which strikes a strong note of tolerance and understanding. That’s not to say the title character is a hero — as played by Antonythasan Jesuthasan, he’s a flawed, slightly bitter man, whose experiences as a Tamil Tiger soldier have shaped him, and are the reason he’s driven to seek a better life. In doing so, he adopts a new name, picking up a similarly desperate woman in the refugee camp to be his ‘wife’ (Kalieaswari Srinivasan), who in turn essentially barters for a motherless child to be their ‘daughter’ (Claudine Vinasithamby). Their new location in France is a forbidding housing estate called ‘the field’, which is indeed surrounded by greenery, albeit the scrubby suburban variety, but which is a crumbling place ruled by gangs (led by a James Franco-alike turn from Vincent Rottiers). From thereon in, the film works to get across a sense of the “family”‘s life in France, at work and at school, beset by a series of small bureaucratic aggressions which take their toll, but never overwhelm the three. It’s never quite feels like the masterpiece the award suggests it should be, but it’s still a fine film from a director with some form on this ground.

Dheepan film posterCREDITS
Director Jacques Audiard; Writers Audiard, Thomas Bidegain and Noé Debré; Cinematographer Éponine Momenceau; Starring Antonythasan Jesuthasan அந்தோனிதாசன் யேசுதாசன், Kalieaswari Srinivasan காளீசுவரி சிறிநிவாசன், Claudine Vinasithamby குளோடின் வினாசித்தம்பி, Vincent Rottiers; Length 115 minutes.
Seen at Curzon Victoria, London, Wednesday 13 April 2016.