Dheepan

Watched this prestigious Palme d'Or winner in the local art house cinema Zawya, it is French auteur Jacques Audiard's seventh feature film, who is on a hot streak in the past decade, from THE BEAT THAT MY HEART SKIPPED (2005), to A PROPHET (2009), then RUST AND BONE (2012), now finally DHEEPHAN hits the home run in his motherland.

To escaping from the living hell of a defeated war in Sri Lanka, a Tamil freedom fighter Dheepan (Antonythasan, who was a real-life boy solider of Tamil Tiger before fleeing to France), forges a family with Yalini (Srinivasan), a young woman in her early twenties and Illayaal (Vinasithamby), a nine-year-old girl, which facilitates the process of seeking asylum in Europe, and they end up in a Le Pré, a suburban area of Paris (although Yalini hopes to go to the Great Britain, where her cousin is) where anarchy is still held rampant among local gangsters. In spite of their language debacle, Dheepan becomes a caretaker of a derelict housing block and he also finds a job for Yalini, as a hourly maid to attend to a senior uncle of the gangster member Brahim (Rottiers), who has just been released from the penitentiary for probation, whereas Illayaal enrols in the local school where she has a tough time to blend in.

Paris, even the suburban area, should be a safe haven for the makeshift family taking flight from a war zone, but in Audiard's conception, France is far cry from a paradise for immigrants and refugees, hooliganism and gang war threaten Dheepan and his family's life almost on a daily basis, which is an ever so familiar situation for them, as if the shadows of war have tracked them from their native country to another continent, no exit is on the horizon, everywhere seems to be a dead-end, life is almost the same, worthless, in spite of being accommodated in a quite comfy apartment and earning a self-sufficient wages, they can be dispatched by the flying bullets any time on the streets, even under the broad daylight. Sooner or later, the straining mental stress will implode, especially for Yalini, whose working condition becomes increasingly precarious since she deals with gangster members first-hand, a highly-stylish set piece where Dheepan single-handedly takes on the droogs to save Yalini, with unusual subjective camera angle and heightened slo- motion shots aiming persistently to the waist-below, it is Audiard's intemperate stunt to impress after holding it back for a long time, nevertheless it deficiently appeases what viewers anticipate (especially when Dheepan's provocative behaviour of drawing the line between warring gangsters receives no personal danger to him or whatsoever) - to exaggerate Dheephan's "heroic act" as if he is the action hero who is capable to calmly finishing off his enemies one by one with great panache, is too much a stretch, even for someone with his battlefield background, since his life is too insignificant to matter under the radical situations which Audiard insists to lead us on. So is the ambiguous happy ending in England, a dream too perfect to be true which contradicts the harsh realism which Audiard intently fabricates.

Where all three main actors are non-professionals, it is pleasing to watch a tangible bond has been built between Yalini and Brahim, lost in translation, they don't understand each other's language, but the beguiling charm and draw between total strangers has reached its well-received receptor without put civil decency at its expense. In spite of being an allegorical account of a seemingly ordinary person's unexpected hidden depths, DHEEPHAN arrives topically in the current muddy waters of immigrants and war refugees in Europe, it leaves the impression of a self-justifying excuse to warn those unfortunately masses, but maybe they are not deeming Europe as the promised land, for them, any place other than their levelled home, is an egress from danger and poverty, so, at such desperation, it is well worth it.

One particularly telling scene of Audiard's poetic creativity is when the location transitions from Sri Lanka to Paris, the blurry fluorescent light slowly reveals itself being generated from a plastic hat which Dheepan wears when he is hawking on the street of Paris with other immigrants, such sleight-of-hand is mesmerising, alas, there is just not enough of them in this Palme d'Or crowner.

"Men and women are immigrants in each other's worlds." Yakov Smirnoff

While the media is awash with stories of displaced persons, especially in Europe and Asia, the engrossing film, Dheepan, depicts the struggles of a small "family" from Sri Lanka that could as easily stand for emigrants anywhere. The titular hero (Jesuthasan Antonythasan) is a former Tamil Tiger trying to leave his violent past by emigrating first to France, then to England.

The fact that the 1983-2009 Sri Lankan Civil War is closing, with Tamil losing, helps to propel the story and give credence to his flight. The story is fascinating as Deephan joins with a woman and a young girl, both previously unknown to him, to leave the country seeming to be a family. Just watching the three maneuver themselves out of India to a Parisian suburb is drama enough, but writer-director Jacques Audiard carefully shows how the new family gradually becomes a functioning, loving trio.

However, it's not at all easy as Dheepan's new job is as caretaker for a housing complex that has a drug operation in one part of it. Although Dheepan tries to stay out of the way, the old Tiger surfaces, and he must fight for his independence as well as the safety and trust of his "wife," Yalini (Kalieaswari Srinivasan).

That fight for family love and survival becomes just as compelling as the struggle of the Tamil Tigers for independence in Northern Sri Lanka. What makes this Cannes Palme d'Or winner so emotionally magnetizing is the quiet way the characters grab hold of your affection, in a sense inching their way into your heart because of the sincerity of their purpose and the charisma of the actors.

Besides the microcosmic attachment to a family in progress, the story, again quietly, references ethnic challenges worldwide as Yalini dons a headscarf to fit into the predominantly Muslim population, an artifice similar to her faking being wife to Deephan and mother to Illavaal (Claudine Vinasithamby). Yet there is nothing deceptive about the power of this story to make universal the need to find a home, and the concomitant importance of a nurturing love.

From the ashes of the Sri Lankan war a trio of strangers forms a family. It is an act. It is a passport across borders that none of them could get by as easily on their own. They are all orphans; man, woman and girl. Each of them has lost everything and everyone. Selling trinkets on the streets, learning new languages, understanding foreign cultures, realizing the ropes in a crime ridden housing project and avoiding warring factions are only some of the hoops they must jump through in their new home in order to survive. Adjusting to a new world is difficult, yet a greater metamorphosis is required inside each person. To make things work each must believe in the fiction of the family. Fluid identities must be embraced.

The toughest thing is learning to live with each other. For each adult it is like having two kids to deal with; teenager and spouse are equally petulant. It is not merely the practical things that are needed to survive, it is learning from each other, talking, having a sense of humor, kindness and love. In this sense, this family of strangers could be any in the world. We all could believe in this "fiction."

There were times during the film, for instance a character flashback and close-up of an elephant on the verge of charging, where I felt a rush of emotion. It was such a change of tempo in sound, plot and vision, and so magical even as brief as it was, that it was like an electrical current surging along my spine. I wish there were more such flashbacks, but that might have taken from the charm. The plot of the story, a migration from a war-torn land and individuals reconstructing their lives as well as their identities, is timely and portent. The only addition for a perfect film; more believable acting. Winner of the Palme d'Or at Cannes. Seen at the 2016 Miami International Film Festival.

The renowned French filmmaker, Jacques Audiard back with this new sensational film. This time he has chosen to tell us the story of a Sri Lankan Tamil Eelam freedom fighter who had fled to France after the war, followed by his struggles in the new place. The entire film was in Tamil language, but there some French dialogues too. I have been waiting for this, even after I got many opportunities, I had postponed them for some reasons. Finally, I'm very happy for not just got over it, but for the film that has powerful contents to give a peek into the immigrant's lifestyle, I mean not in a pleasant way.

Right now it is a huge issue around the world to curb the immigration, especially the illegal ones. But some reasons are really heartbreaking, like in the film 'The Good Lie'. Usually the people like in this story are not welcomed, so they have to lay low and swallow all the troubles they bump into. Sometime the events reflect what happened back in the homeland. In a such way this tale takes place where a civil war fighter, Dheepan, from Lanka lands in France with his fake family of a wife and a daughter named Yalini and Ilayaal respectively.

In order to forget the past, he tries his best to start over a new life. Since he did not come wealth, he had to adapt whatever life offered to survive and to protect his family. Knowing living on the edge of the fire, they were left alone, but how long, because the fire flame always catches the vulnerable objects around it. So what comes later is the finale with a twist and to follow the end credits.

I have seen many films about what this film was focused on, but this was somewhat different, mainly because of people from the culture of less known geographical area. I can understand Tamil, but I found hard to get this Sri Lankan Tamil lines. There were films about Sri Lankan refugees, those films like 'Nandha', 'Kannathil Muthamittal' are different kinds. Maybe this is the first western film to dig on Lankan Eelam topic, especially after the end of civil war and far away from the home. Though it does not take a side, except opening scene, the rest of the film is set in France.

"Sometimes, they say things and laugh. I understand all the word, but they don't sound funny"

They have got a simple storyline, but developed to its best. The progression becomes stronger, particularly when it reaches the final stage. I think the filmmakers did a good research, especially the cultural differences to highlight. That's the most of the film concentrated to only on the one perspective, but the threats what people like them face was also brought into the narration. Like caught between the two worlds and culture, and to defend themselves, to do what has to be done.

Very realistic approach, but the question is do the things like this happen in real, especially in France? If you like Jacques Audiard films, then you should not miss it at all. These main actors are kind of new in front of the camera and they were amazing. Technically as well the film sounds good, but as I had heard, the filmmakers were hurried to finish it off when the Cannes Film Festival was around the corner. I think they have managed everything properly, and you would too appreciate the effort once you watch it.

It went to numerous film festivals and won some awards that includes Palme d'Or at Cannes. Kind of must see by the director's fans, even if you are not a fan, it is still worth a watch. Because you won't get another this or seen before. Even if you did, the cast wasn't the familiar one. That's the big difference here. The film has a message like, what one must be doing in his second chance of life. There are violences, feels strong, though the effects are raw, not the events or the scenes. Definitely not a masterpiece, but still I would recommend it for the adults.

8/10

Greetings again from the darkness. Wars exist in many different forms. Some are over contested international boundaries, others are religious conflicts, while others are more personal and intimate. The stories of many refugees could be described as fleeing one type of war only to end up fighting a different kind. Such is the story of Dheepan.

Jacques Audiard is one of the most exciting filmmakers working today. A Prophet (2009) and Rust and Bone (2012) are both compelling films, and though his latest may not be quite at that level, it's still full of intensity and personal drama. Mr. Audiard co-wrote the screenplay with Thomas Bidegain and Noe Dibre, and some of it is based on the remarkable real life story of lead actor Jesuthasan Antonythasan.

Dheepan is a Tamli soldier who is so desperate to flee Sri Lanka that he teams with a woman and young girl he doesn't know to form what looks like a real family. By using passports of people killed during the war, the pre-fab family of three is issued visas to live in France. Dheepan gets a job as the caretaker for an apartment complex riddled with crime, violence and drugs – and learns to keep his mouth shut and eyes open.

It's fascinating to watch these three people navigate their new life as they struggle with the language and a new culture. There are flashes of real family problems, but also the awkwardness of three whose only true bond is their escape from their previous life. Living in such close proximity means their true colors are bound to shine through no matter how much effort goes into the family façade.

Jesuthasan Antonythasan (Dheepan) and Kalieaswari Srinivasan (as Yalini his wife) are both excellent and powerful in their roles despite being so inexperienced as actors. Their exchanges are believable, as is their disparate approach to the future. Ms. Srinivasan is especially strong in her scenes with local thug Brahim, played by Vincent Rottiers. The two have such an unusual connection … alternating between warm and frightening.

Some have found fault with the final action sequence, but it's such a fitting turn of events given Dheepan's past … plus the camera work is outstanding. The film won the Palme d'Or at the 2015 Cannes Film Festival, and it's another notch in the belt of filmmaker Jacques Audiard. It's also a reminder that we can never really escape the past.