Custody is quite a difficult film to write about without giving away too much. It’s scheduled for release by Picturehouses in the UK in the near future, so no spoilers! The screening at Glasgow Film Theatre was attended by the director Xavier Legrand and lead actor Denis Ménochet. The nearly full house was very enthusiastic during the Q&A and had clearly ‘enjoyed’ the film despite or because of its intensity, shocks and strong emotions.
I think I was thrown by the opening sequence which comprises a ‘mediation meeting’ between a husband and wife struggling through the dissolution of their marriage and custody of their children, both speaking through their legal representatives who deliver their cases in rapid (French) legalese. They are seated in close proximity around a table. The judge barely speaks and goes away promising a verdict some time later. The couple’s daughter is about to become 18, but her younger brother is only 12 and what happens to him is seemingly the focus of the drama. Watching the sequence, I thought of the opening to Asgar Farhadi’s film, A Separation (Iran 2011) and wondered if Custody was going to turn into that kind of family melodrama with dramatic intensity and legal/social/moral questions. I was wrong and I clearly misread or didn’t notice the clues to a different kind of drama. I can tell you that the director was inspired by three films (all American). One was Kramer v. Kramer. The other two were more suprising, but to name them would give the game away.
I can’t tell you what kind of narrative develops without saying too much about the plot and I think the power of the film depends on not knowing what will happen – in fact, creating uncertainty about the characters was a deliberate ploy by the director. The performances of Denis Ménochet as the father Antoine, Léa Drucker as the mother Miriam and, especially, Thomas Gioria as their son Julien are all excellent. Perhaps I can simply say that the audience is offered the same evidence/testimony in the opening as the judge. What do we think? And what will we find out over the next 90 minutes?
One of the perceptive comments in the Q&A was that the film has more female than male characters in important roles, so during the mediation, the judge and both advocates are female. The director pointed out that this was to be expected in urban areas because as mothers the three legal professionals were less likely to take jobs outside the strong childcare network in the city. But it’s also the case that Miriam has a sister and her daughter has friends but Thomas is more on his own. You might take from these observations that this is a film aware of gender issues and that it is in tune with its times. If the Glasgow audience is anything to go by, the film should receive press coverage and strong word of mouth. I think I would have liked to see the story take a different turn, but that doesn’t mean that I think the narrative presented here is not of supreme importance. Rather I have a preference for melodrama and for the sociology of the situation. I was amused that some of the action takes place on the ‘Rue Winston Churchill’ in what the subtitles called ‘the projects’, but these were more middle class than les cités familiar from banlieue films in France. I would have liked to ask questions about the setting (suburban Paris or a city in Bourgogne-Franche-Comté, listed as giving support) and the social class positions of the characters during the Q&A, but this clearly wasn’t what the majority of the audience was interested in. I think this might be classed as a social realist melodrama, though there is little music in the film. This is odd since Josephine, the daughter, is a music student who sings two versions of Creedence Clearwater Revival’s ‘Proud Mary’, which could be a commentary of some sort on the action. I hope the film finds its audience on release.