Dheepan

Greetings again from the darkness. Wars exist in many different forms. Some are over contested international boundaries, others are religious conflicts, while others are more personal and intimate. The stories of many refugees could be described as fleeing one type of war only to end up fighting a different kind. Such is the story of Dheepan.

Jacques Audiard is one of the most exciting filmmakers working today. A Prophet (2009) and Rust and Bone (2012) are both compelling films, and though his latest may not be quite at that level, it's still full of intensity and personal drama. Mr. Audiard co-wrote the screenplay with Thomas Bidegain and Noe Dibre, and some of it is based on the remarkable real life story of lead actor Jesuthasan Antonythasan.

Dheepan is a Tamli soldier who is so desperate to flee Sri Lanka that he teams with a woman and young girl he doesn't know to form what looks like a real family. By using passports of people killed during the war, the pre-fab family of three is issued visas to live in France. Dheepan gets a job as the caretaker for an apartment complex riddled with crime, violence and drugs – and learns to keep his mouth shut and eyes open.

It's fascinating to watch these three people navigate their new life as they struggle with the language and a new culture. There are flashes of real family problems, but also the awkwardness of three whose only true bond is their escape from their previous life. Living in such close proximity means their true colors are bound to shine through no matter how much effort goes into the family façade.

Jesuthasan Antonythasan (Dheepan) and Kalieaswari Srinivasan (as Yalini his wife) are both excellent and powerful in their roles despite being so inexperienced as actors. Their exchanges are believable, as is their disparate approach to the future. Ms. Srinivasan is especially strong in her scenes with local thug Brahim, played by Vincent Rottiers. The two have such an unusual connection … alternating between warm and frightening.

Some have found fault with the final action sequence, but it's such a fitting turn of events given Dheepan's past … plus the camera work is outstanding. The film won the Palme d'Or at the 2015 Cannes Film Festival, and it's another notch in the belt of filmmaker Jacques Audiard. It's also a reminder that we can never really escape the past.

In our review for Robert Guédiguian's wonderful film "The Snows of Kilimanjaro" (http://www.imdb.com/title/tt1852006/reviews-6) we raised the question whether Art should be an imitation of life or whether it should be the other way around. The advocates of realism will make the first choice since, in their opinion, life is full of ugliness that Art must faithfully portray. As is often the case, the artist does not even distinguish between realism and pessimism. In the case of cinema, in particular, the audience must leave the theater full of dark thoughts and feelings of vanity; happy ending is a taboo and a positive message should be hard to find. Idealism, on the other hand, reserves a more noble and ambitious role for Art by creating high standards of human character, thus offering psychological, ideological and aesthetic motivation for man to overcome the inherent weaknesses of his nature and morally elevate himself by striving to reach these standards.

Guédiguian's film masterfully balances between these two opposite philosophical trends. One could hardly say anything less about Jacques Audiard's "Dheepan" (Palme d'Or at the 2015 Cannes Film Festival). In the first place, the subject – immigration to Europe from war-torn places of the Third World – is so timely that the film almost acquires the character of a documentary. The audience, however, progressively witnesses a marvelous transformation from the harsh reality of human survival to the final triumph of human moral exaltation!

Here is the beginning of the story:

"Dheepan" is a freedom fighter of the "Tamil Tigers" in the Sri Lankan Civil War. The war approaches its end and defeat of the revolutionaries is imminent. Dheepan, whose entire family was lost in the war, decides to flee the country together with a woman and a little girl – two persons previously unknown to him as well as to each other – in the hope that, by pretending that they are a family, it would be easier for them to claim asylum somewhere in Europe. Arriving in Paris, the "family" seeks temporary housing while Dheepan tries to earn some money by selling little things under the nose of the Police. Finally, he finds a permanent job as a caretaker in a building block somewhere in the suburbs. Although the place is miserable and, moreover, is a den of unlawful activities, Dheepan works hard to build a new life for him and his new family...

The craftsmanship of the narrative lies in the wonderful balance between the hard realism of the subject and the cinematic poetry that permeates the film from beginning to end. This narrative carefully and skillfully avoids the traps of over-sentimentalism and political didacticism, as well as the temptation of sanctification or demonization of the various characters, as such oversimplifications would undoubtedly undermine the artistic result. The main heroes, in particular, are not a priori "good". They discover the good parts of their own nature as the story progresses, thus developing as human beings in the process.

It is precisely this miracle of character revelation and moral elevation in front of the viewer's eyes that makes cinema such a wonderful art, after all. And, even if it seems too idealistic to be true, this miracle is far from representing a utopia!

"Dheepan" (2015 release from France; 115 min.) brings the story of a group of Sri Lanka refugees in Paris. As the movie opens, we see a man cremating bodies in the open, and we wonder what is happening. We also see a woman wandering around looking for a child who has lost his or her mother, which she eventually does. Eventually, the picture becomes clearer: in order to be able to migrate into Europe, these three need to pretend to be a family and use a deceased man's (Deepan) passport. They end up in a tough suburb ('banlieu') of Paris, where Dheepan gets a job as the maintenance/groundskeeper guy but where local gangs also run their drug activities. At this point we're 15 min. into the movie but to tell you more would spoil your viewing experience, you'll just have to see how it'll all play out.

Couple of comments: this is the latest from writer-director Jacques Audiard, best known for "A Prophet" and "Rust & Bone". I will go see anything this guy does, simply on the basis of his proved talent and track record, time and again. Here he brings a tough story of, on the one hand, how third-world refugees try to adopt and integrate into a Western society, and on the other hand, the even tougher challenge to survive in a crime-and-drugs infested environment. It doesn't make for easy viewing at times. The three lead performers (bringing us Dheepan, his supposed wife, and supposed daughter) are all nothing short of outstanding. The last 20 minutes of the movie will absolutely blow you away (sorry, can't say more than that).

This movie won the Palme d'Or at the 2015 Cannes Film Festival. Why it has taken over a year to reach US theaters, I have no idea, but better later than not. The movie finally opened this past weekend at my local art-house theater here in Cincinnati, and I couldn't wait to see it. The Friday early evening screening where I saw this at was attended reasonably well, but I'm not sure this movie will play more than 1 or 2 weeks in the theater, sadly. If you are in the mood for a tough family drama that gives a great insight in some of the struggles encountered by legal migrants in Europe, you cannot go wrong with this, be it in the theater, on VOD, or eventually on DVD/Blu-ray. "Dheepan" is HIGHLY RECOMMENDED!

Winner of the prestigious Palme d'Or at 2015 Cannes Film Festival, Dheepan may not be as strong a cinema as past few recipients of the same honour but it nonetheless succeeds as an engrossing, absorbing & reflective drama that illustrates the plight of immigrants with unflinching honesty and is substantially boosted by outstanding performances from its leading cast.

Dheepan tells the story of its titular character, a former Tamil Tiger soldier who pairs with a young woman & a 9-year old girl together posing as a family in order to leave Sri Lanka and begin a new life from scratch. Upon his arrival in France, he manages to secure the job of a resident caretaker but the daily violence in the neighbourhood turns out to be another conflict zone for him.

Co-written & directed by Jacques Audiard (best known for A Prophet), Dheepan isn't as enthralling as his finest work but it is still a powerful piece of work that's completely devoted to its characters, is expertly narrated & steadily paced. However, what impressed me most was the authenticity with which it captures the language & other barriers any immigrant faces in a different country and the desperate attempts he/she makes just to blend in.

The technical aspects are finely executed. The set pieces provide a fitting setting for the drama to unfold at, Cinematography is effectively carried out with the best part saved for the final act which in itself was an unexpected turn, Editing could've applied a few more trims to the final print, music nicely compliments the whole narrative yet it's the performances from its relatively unknown cast that steals the show with the titular character being played by a former real-life LTTE soldier.

On an overall scale, Dheepan is a thoroughly engaging narrative about immigrant experiences that grabs the viewers attention from its opening moments, offers a harsh but fair look at the tough life of refugees looking for a new home in a foreign nation and packs in an interesting set of characters who are ingeniously brought to life by its committed cast. While the story unfolds at the same level for the most part, the final act simply explodes out of nowhere and is sure to leave its viewers in a shell-shocked state. Definitely recommended.

"Men and women are immigrants in each other's worlds." Yakov Smirnoff

While the media is awash with stories of displaced persons, especially in Europe and Asia, the engrossing film, Dheepan, depicts the struggles of a small "family" from Sri Lanka that could as easily stand for emigrants anywhere. The titular hero (Jesuthasan Antonythasan) is a former Tamil Tiger trying to leave his violent past by emigrating first to France, then to England.

The fact that the 1983-2009 Sri Lankan Civil War is closing, with Tamil losing, helps to propel the story and give credence to his flight. The story is fascinating as Deephan joins with a woman and a young girl, both previously unknown to him, to leave the country seeming to be a family. Just watching the three maneuver themselves out of India to a Parisian suburb is drama enough, but writer-director Jacques Audiard carefully shows how the new family gradually becomes a functioning, loving trio.

However, it's not at all easy as Dheepan's new job is as caretaker for a housing complex that has a drug operation in one part of it. Although Dheepan tries to stay out of the way, the old Tiger surfaces, and he must fight for his independence as well as the safety and trust of his "wife," Yalini (Kalieaswari Srinivasan).

That fight for family love and survival becomes just as compelling as the struggle of the Tamil Tigers for independence in Northern Sri Lanka. What makes this Cannes Palme d'Or winner so emotionally magnetizing is the quiet way the characters grab hold of your affection, in a sense inching their way into your heart because of the sincerity of their purpose and the charisma of the actors.

Besides the microcosmic attachment to a family in progress, the story, again quietly, references ethnic challenges worldwide as Yalini dons a headscarf to fit into the predominantly Muslim population, an artifice similar to her faking being wife to Deephan and mother to Illavaal (Claudine Vinasithamby). Yet there is nothing deceptive about the power of this story to make universal the need to find a home, and the concomitant importance of a nurturing love.