(Keith reviewed this film last year when it was in the Leeds Film Festival – see the comment below with a link.)
Vincent Lindon is possibly my favourite French actor and for La loi du marché he won the acting prize at Cannes and a César Award in 2015. IMDB informs me that he comes from a wealthy family background and that he has supported a centrist politician in elections – yet he has the star persona of a rather tough, brusque but honest and intelligent working-class man in many films. In his third film with writer-director Stéphane Brizé he takes this familiar star persona a step further. The English translated title makes this film sound personal and rather abstract. I much prefer the French title which I translate as ‘The Law of the Market’. The emphasis is quite different. In this narrative, Lindon’s character is certainly tested, but the function of the narrative is to expose, in a way that is ‘open’ but also quite subtle, how contemporary working conditions and attitudes towards both employment and unemployment impact on workers and their families.
Thierry and his wife live in a modest house with their teenage son who needs their care and support to progress in his education because of some physical disabilities. Thierry has been made redundant from his job as a skilled machine tool operator. In his early 50s he has been out of work for many months and has suffered humiliation and rejection when he has attended interviews and training courses. When he finally gets another full-time job what kind of work will it be and what will have happened to his dignity and sense of worth?
This bare outline suggests a film comparable to those of Loach-Laverty and the Dardenne Brothers as well as that broader tradition of films about the workplace and industrial relations in French cinema. But in several ways this film is distinctive. Stéphane Brizé describes the kind of production he wanted like this:
Right from the beginning of the writing process, I knew the film would be shot with a tiny crew, and non-professional actors would work with Vincent. I went even further and told Christophe Rossignon (the producer) and Vincent Lindon that I wanted us to co-produce the project by imposing a limited budget and investing the better part of our salaries in the film, while paying the crew the normal rate. Not every film can be made this way, but this one allowed it. Content, style and financing echoed one another, and I liked this coherence. There was also the affirmation that films could be made differently at a time when the industry is seriously questioning how it finances production. I also had to rethink my set design and staging, as well as my themes. This film is the fruit of necessity. (From an interview in the film’s Press Pack.)
The result is a film which is visually quite austere and in which Thierry is clearly the central character. Brizé deliberately chose a young documentary cameraman Eric Dumont with no experience of fiction films and asked him to frame scenes for 2.35:1 CinemaScope. This enables Brizé to focus on Thierry but also to include other characters or décor that provide context for what Thierry is experiencing. Sometimes there is some blurring of the image on one side of the frame. I couldn’t see what was causing this. In much the same way the soundtrack has a visible hum in some scenes set in small functional rooms with harsh lighting. I wondered if this was deliberate or the result of low-budget shooting – such scenes also use hand-held camerawork. I know it’s a cliché but these ‘flaws’ do enhance the sense of realism. The film does indeed feel like a documentary but it is very slowly paced with long takes and sometimes a quite static camera. As far as I can see most of the ‘cast’ are non-professionals who play roles they also perform in ‘real life’. There is none of sensationalism or voyeurism of ‘reality TV’, nor any of the melodrama or comedy found in Loach-Laverty and slightly different Dardennes forms of social realism. If this makes Brizé’s film sound dull, it only takes a few minutes of a couple of the various well-chosen scenarios to reveal the power of the writing and to engage the viewer in the tragedy of Thierry’s situation and to marvel at his patience and strength. I got very angry very quickly but I also marvelled at the mixture of subtlety and brutality in these scenes.
At the centre of every scene is Vincent Lindon’s performance. Does he deserve all the praise and the awards? Absolutely, I would say. Physically, Vincent Lindon is a strong man – his facial features, his muscular arms – who we are convinced could do most manual jobs, but who would also have the inner strength to tackle other kinds of employment. In interviews in this film, Thierry is routinely humiliated. His interviewers don’t directly insult him, rather they carry out their routine questioning as they have perhaps been trained to do. The effect on Thierry is seen in his eyes and his posture. The brilliance of the performance is in the way Lindon’s body seems to crumble at the edges. This is neatly represented in a sequence in which Tierry and his wife Karine (Karine de Mirbeck – the non-professionals keep their own names?) go to a rock ‘n roll dance class. Everything is fine until the dance teacher tries to show Thierry how to move. The point here is that the non-professional actors are very good at representing themselves – the script sets up a situation that humiliates Thierry rather than their performances. Lindon as the professional has techniques and insight and physical control. The contrast is fascinating.
I should point out that the film does not have a happy ending. Instead, it is ‘open’, but I’m sure most audiences will worry about what will happen to Thierry, Katrine and their son Matthieu. I watched this film in one of my favourite cinemas where it is always a real pleasure to watch a film. Unfortunately, on this occasion I found myself sitting in front of a group of people who talked on and off throughout the film and often cackled or laughed loudly. The film isn’t a comedy although I did smile and laugh quietly once or twice. I fear that the laughter behind me was cruel and responded to the indignities heaped on Thierry, but perhaps it was fear? In one scene I felt so much for him I had to turn away from the screen. La loi du marché won’t be for everyone, but it’s one of my films of the year and a film every actor, scriptwriter and director should watch and learn from.
Congrats to New Wave, one of the most reliable UK distributors who still manage to bring us the best films. If only more exhibitors would be prepared to show them.