JE NE SUIS PAS UN SALAUD FILM

Writer-director Emmanuel Finkiel"s fourth feature star Nicolas Duvauchelle ("White Material") et Melanie tieri ("The Princess de Montpensier").

Vous lisez ce: Je ne suis pas un salaud film



Not rather simple but definitely serious, A kind Man (Je née suis démarche un salaud) is a dark and brooding portrait ns contemporary malaise, a chronicle ns quiet desperation viewed through thé eyes du a français father unable venir cope with modern life, until he temporarily find relief passant par accusing an Arab youth de a la criminalité he didn’t commit.

This fourth attribute from writer-director Emmanuel Finkiel after his promising 1999 debut, Voyages, étoiles Nicolas Duvauchelle (Polisse) ont the maladjusted, progressively volatile Eddie, et Melanie thierry (Zero Theorem) as a mother et girlfriend trying venir maintain order in a chaotic household. Thé two jeune actors deliver intensely driven performance in a cinématique that takes some surprising turns in both structure and form, though, choose its henchmen character, winds increase sliding off the rails a peu during the définitif reel. After premiering globally in Dubai, Man is receiving a petit theatrical release in France, with possibilities pour niche art house play in a handful of offshore territories.


First seen looming over the countertop ns a bar, 30-something Eddie safety more temps drinking and moping about than hey does looking parce que le gainful employment. As well as enjoying a few afternoons v his son, Noam (Johann Soule) – from who mother, Karine (Thierry), he’s been separated pour a certain time — Eddie make the efforts his hand at a sales career, but has neither thé charisma nor the people skills to aller very far.

After un autre drunken night nous the town, cette winds increase hospitalized once a band of thugs stab him exterior one du France’s notoriously gloomy real estate projects. (Karine stays in a real estate project ont well, but tries venir spruce up her place ont much as possible.) parce que le unexplained factors — cette could be année honest mistake jaune a intended tactic — Eddie fingers locale Arab garçon Ahmed (Driss Ramdi) oui the clé culprit, perhaps because hey saw the in a sales training video earlier on.

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Soon the innocent Ahmed is incarcerated et Eddie is earlier living v Karine et Noam, functioning a new job at the very Ikea-like caisse store (called “Homea” here) wherein his girl friend is one de the prize employees of a boss (Nicolas Bridet) who holds elle in high esteem (and possibly more than that). It’s a provisional fix that has Eddie quelling his baser instincts venir try and make family life work, until thé growing realization that he accused auto wrong man, oui well ont the pressures ns holding under a job, command him in the direction of an action of pure madness.


Focusing with razor-sharp precision on Eddie’s inability à adjust to auto real world, though never delving into any type of kind of psychological explanation jaune backstory, Finkiel presents nous with a character who merely can’t accept auto raw transaction he’s been dealt in life, rejecting everyone et everything with outright bitterness et the secure numbness provided passant par alcohol. Seen framed in windows, doorways or otherwise gazing out at auto cell-like apartments in a housing bloquer across auto street, Eddie is portrayed oui a prisoner ns his own survie whose only escape is to mistakenly throw someone else in jail.

But together a reprieve is short-lived, specifically when Ahmed confronts Eddie antérieur à a careful magistrate, that seems ont skeptical at times de Eddie’s accusations as the rest de us. Duvauchelle is at his le meilleur in this moments, playing someone sauce soja unsure ns himself — et so unlikeable in différent aspects — that hey stands by his lies simply to save face. Finkiel gets lot mileage out de his cast without overdoing it, making use of reaction shots to express deeply unstable feelings that can hardly be interacted through dialogue.

If auto distancing result can seem overtly stylized at times, the work ns cinematographer Alexis Kavyrchine (Vincent) arrestingly records Eddie’s sapin amid a backdrop du soul-sucking contemporary structures — even if it is it’s thé concrete tower cette calls page daccueil or the warehouse ns discount furniture where hey toils away with ne sont pas pleasure whatsoever. A sparingly used electronic score by French DJ Chloe also adds venir the général feeling of unease.

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The film’s sauvagement finale won’t come as a surprendre to everyone who’s watched the nouvelles over auto last few years, particularly in the U.S. Et while some de the characters’ decisions throughout those close up door scenes deserve to feel like a stretch, they don’t yes, really take far from Finkiel’s underlying ambition: to show comment Eddie peut être not have to be a decent man, so to speak, but it’s thé world hey lives in that turns him right into something much, much worse.


*

Production company: Thelma FilmsCast: Nicolas Duvauchelle, Melanie Thierry, Driss Ramdi, Nicolas Bridet, Johann Soule, Maryne CayonDirector, screenwriter: Emmanuel FinkielProducers: christine Gozlan, David PoirotDirector ns photography: Alexis KavyrchineProduction designer: Rozenn les GloahecCostume designer: Agnes NodenEditor: sylvie LagerComposer: ChloeCasting directors: Juliette Denis, Aurore BroutinSales: Bac Films