Epinay-sur-Seine - a suburb of Paris in the neighborhood called 'la source'. The general store in question is owned by Ali. The doc begins with Ali relating to the camera a list of countries that his customers come from. The list is endless. Though the cinema veritie style film appears aimless, director Briet focuses on the importance this store has for the customers. The film is split into sections with titles of the names of the customers including Papi, Mami and other including Ali, the store owner. Whether old, young, poor or a former thief, Ali is kind, accommodating and forgiving to them all. He moans over the lack care the authorities have in renovating the projects. Ali's charismatic nature rubs off on screen and the lightness and human warmth of Briet's film eventually gets its secret agenda across. A quietly moving film!
French directors Barougier and Leborgne tackle the intriguing topic of an utopian penal colony. The island of Iwahig in the Philippines houses inmates, mostly murderers on life sentences, who grow food and etch out a comfortable life. Barougier and Leborgne pick two totally opposing characters to relate what life is like on the island. One is a released prisoner that is elected (by the prisoners) as mayor. He runs the place with a fair hand with the inmates satisfied with his rule. The other is a convicted murderer who fishes for the colony. The film is leisurely paced and interweaves the tales of the two interviewees among images of the island. HORS LES MURS is one-sided, obviously geared toward the success of this type of rehabilitation. Not much is said of the prisoners who violate the rules and regulations, which seem a bit too mild (like flirtation with the local women or gambling) for belief. Only once during a hint by the major of a fellow inmate chopped to pieces and flushed down the septic tank does the realization occur that quite a bit of missing information might be deliberate. Still, the photography captures the muddy paradise in all its splendour. Fortunately, the topic is intrinsically intriguing on its on account but the directors seem aimless at leading the film anywhere. Thumbs up for the mayor who bravely tells his tale candidly!
This documentary about an elderly couple looks very much like fiction for the way it affects the viewer. Excruciating at times to watch for its content possesses a real dilemma for most of us who have very old parents. Parents resist being put in a retirement or nursing home. But they cannot tend to themselves on their own. And the children have their own lives to deal with. Papy is a loving husband to Mamie, being married for 40 years. But he is forgetful - often awakening during the early hours of the morning (3 a.m.) to go out. Mamie gradually grows ill. She cannot stand for long periods, has problems swallowing food and has to be hospitalised. Director Lheureux's film covers both the romance and anger of the couple. They argue as well, swearing with 4-letter words besides making up passionately. The children do their best to tend to them (especially when on camera). But one also wishes to see them candidly lose their patience over their parent's stubbornness, which no doubt occurs as well. The sadness of it all is that most of us will be in the same boat as Papy-Mamie.
An elderly Algerian ex-soldier who fought in the war quotes Victor Hugo: Life is like an onion - we cry as it is peeled. Every step we take is one closer towards death." His pessimistic view is taken by director Leuvrey and every Algerian born immigrant on the ferry en route to Algeria. They complain of being misplaced, not taught Arabic, the need to be back or buried in the home country. One wishes that Leuvrey would also cover the other point of view. There are surely those (though they may be fewer) who are content as French immigrants. But perhaps they would not be found on this ferry. Leuvrey interviews a cross-section of mainly Algerians from young to old, but their views are mostly similar. This 55-minute doc is presented with SISAI.
- Gilbert -