This odd film is one of the MUBI selections from the My French Film Festival. It’s odd because on the surface it appears to be a typical polar/crime thriller but it doesn’t ‘feel’ like a genre film. It may be because it is an adaptation of an Israeli novel by Dror Mishani and the adaptation is directed by Erick Zonca as only the third film he has completed since his international arthouse hit The Dreamlife of Angels (La vie rêvée des anges, 1998). The lead player of that film, Élodie Bouchez, is the fourth lead in this new film – in a secondary role behind three very established French stars.
The most immediately recognisable of the three stars is Sandrine Kiberlain as Solange, a depressed mother in her late 40s with a young teenage daughter who has learning difficulties. Her older child, Dany is a high school student who has gone missing and her husband, a merchant seaman, is away on a trip. When the boy’s disappearance is reported to the police it becomes a case for Commander Visconti played against type by an almost unrecognisable Vincent Cassel and seemingly lurking around every corner is a neighbour and Dany’s sometime tutor Yann Belaille played by Roman Duris – also looking very different. What follows is a drama featuring these three powerful actors.
The settings of the film are also unusual. Visconti is based in a police station in the city but the boy’s family live in an apartment block by a wood, presumably in an outer suburb and at times this felt like the setting for a Nordic Noir. If your recent experience of French policing on TV is the wonderful serial Engrenages (Spiral) you may also be a little baffled by the police operations this film. How does Visconti keep his job? This narrative is only marginally interested in police procedures. Visconti is an alcoholic living alone and battling with his son who appears to be operating a semi-pro drugs business from his high school. The Commander is dishevelled with greasy unruly hair and a thick beard. His appearance and demeanour suggest that he is permanently suffering from hangovers and his interrogation of witnesses in their homes often includes a request for whisky. Part way through the narrative he is taken off the case and replaced by a colleague with a more conventional approach. But this doesn’t appear to prevent Visconti carrying on his investigation.
Visconti becomes interested, perhaps too interested, in the creepy neighbour/teacher. Romain Duris is similarly disguised by a thick bushy beard (though this one is carefully groomed) and large spectacles. What does he know? What is he up to now? Most of the time this narrative is a mystery. Dany can’t be found. Is he still alive? In one sense Zonca seems to be teasing us with possible red herrings but perhaps he is most interested in the three central characters, each of whom has secrets. The case of Dany’s disappearance is eventually solved – or at least there is a confession, but not a clear resolution that ties up all the loose ends.
I’m not sure what to make of this film. As someone very interested in this kind of procedural/rogue cop etc. crime fiction, I found it very interesting, especially because of the three leads. But I do wonder whether a general audience, either of genre cinema or arthouse cinema, will enjoy the film.