le sud (2011)
ผลงานภาพยนตร์เรื่องแรกของ Jean-Jacques Jauffret
ในสาย Directors'' Fortnight
("Director''s Fortnight (หรือ Quinzaine des
ที่โด่งดังจากภาพยนตร์ Les Diables (2002) และ
Water Lilies (2006)
On a sweltering day in the south of France; an alluring
girl; her troubled boyfriend; her mysterious mother and
a gruff neighbor collide in tragedy as their secrets
lead to a series of shocking events.
Et Toujours En Eté.
At first sight ,"Apres Le Sud" would display a Robert
Guédigian influence: location in the South of
France,average persons,whose paths meet ...
But further acquaintance shows it is not so: Guédigian''s
hope against hope and shades of optimism have
disappeared . "Après Le sud" is a somber work Under the
bright sun and the blue sky of French South.
The four characters seem to have lost their illusions
;the obese mother stuffs herself with Arab pastries
while trying a medical treatment:she will remind you of
Ellen Burstyn''s desperate struggle with food in "requiem
for a dream".Her daughter is a clerk in a supermarket ,a
place she finds stifling :she''s pregnant by a young
Italian,Luigi ,himself a loser , who never succeeds in
talking this over with her before the tragedy .The last
character is a grumpy lonely old man who seems educated
and who appreciates classical music.There''s a scene
where he is strip-searched in the supermarket by two
hateful managers who humiliate him and whose behavior is
really beyond the pale:taunting an incontinent old
man,who is twice older than them! All this and more
leads to an irreparable drama ,with a final scene
recalling that of Pasolini''s "Mamma Roma" .
Too bad the director succumbed to a contemporary vice:
non-linear story,flashbacks,flash forwards,scenes showed
twice (the latter would be interesting if we had a
different point of view).This might be a little
off-putting for the audience .
Nevertheless " Après Le sud" gets off the beaten track
and thus can be considered an estimable work.
Dedicated to Cyril Collard ("Les Nuits Fauves ",1992)
Heat Wave (Apres le sud):
Cannes 2011 Review
A promising debut for
writer-director Jean-Jacques Jauffret thats carried by the up-and-coming
actress Adele Haenel.
Blending a finely tooled network narrative with a portrait of banlieue malaise,
Heat Wave (Apres le sud) reps a promising debut for writer-director Jean-Jacques
Jauffre tthats carried by the tres jolie up-and-coming actress Adele Haenel
(House of Tolerance). With a vision of contemporary French angst a la Claire
Denis by ways of a time-shuffling script a la Tarantino, Wave convinces until
its somewhat overblown finale, but could still flow across waters to reach
In a sweltering distant suburb of Marseilles, Amelie (Haenel) works as a cashier
in a local supermarket, toiling away the summer hours when shes unexpectedly
visited by her lanky, dark-eyed boyfriend, Luigi (Ulysse Grosjean). At the same
time, Amelies overweight mom (Sylvie Lachat) heads to the city for a mysterious
appointment whose significance we only learn about later on, while an unknown
old man (Yves Ruellan) goes about his daily routine, which includes shopping for
groceries and again for unknown reasons loading up his shotgun.
Very much in the way that Tarantino revisited the same scenes in Pulp Fiction
and Jackie Brown, but added new angles and bits of information each time,
Jauffret presents a series of realistic vignettes checking out groceries,
waiting for the bus, playing soccer in the courtyard which take on greater
meaning as the multiple plots thicken. Thus, Amelies grumpy desperation is soon
explained by the fact that she may be pregnant, while Luigi nearly sets his
fathers factory on fire before he decides to live with his mom in Italy,
meeting up with Amelie to break the bad news.
The crossing trajectories of each character are captured with vividness by
cinematographer Samuel Dravet, whose burnt-out color palette and use of wide
angles recalls the barren suburban landscapes of Antonioni (especially in the
factory sequence, which is straight out of Red Desert). Unfortunately, the
realist vibe present during much of the story flies off the rails in the closing
minutes, adding a stroke of tragedy to lives that already seemed tragic without
the addition of such a familiar scenaristic trope.
As the forever scowling, yet immensely captivating Amelie, Haenel keeps the
performance toned down to a minimum, expressing herself through the slightest
glance or purse of her lips. Other actors are given scant dialogue, though each
of them is literally stripped down for different reasons over the course of the
film, channeling emotion via the raw image of their naked selves.