Michel Hazanavicius’s latest offering transports mechanic Djibi and his child from a Paris tower block to a fantasyland
Few directors this century have suffered a more precipitous decline in their critical reputation than Michel Hazanavicius. It was less than a decade ago that – hot off his terrific Oss spy spoofs, and newly flush with Weinstein Company support – Hazanavicius carried The Artist to Oscar glory. However, both his immediate follow-up The Search and Godard biopic Redoubtable were met with near-universal shrugs. The Lost Prince, a family-targeted fantasy sees the film-maker returning to the basics, possibly drawing on his personal experience as a father and bedtime storyteller: it’s very sweet, and quietly corrective not just in centralising a black father-daughter pairing, but plugging them into the kind of storybook universe western movies once deemed off limits to performers of colour.
The plot turns on a feeling of being excluded. In...
Few directors this century have suffered a more precipitous decline in their critical reputation than Michel Hazanavicius. It was less than a decade ago that – hot off his terrific Oss spy spoofs, and newly flush with Weinstein Company support – Hazanavicius carried The Artist to Oscar glory. However, both his immediate follow-up The Search and Godard biopic Redoubtable were met with near-universal shrugs. The Lost Prince, a family-targeted fantasy sees the film-maker returning to the basics, possibly drawing on his personal experience as a father and bedtime storyteller: it’s very sweet, and quietly corrective not just in centralising a black father-daughter pairing, but plugging them into the kind of storybook universe western movies once deemed off limits to performers of colour.
The plot turns on a feeling of being excluded. In...
- 8/27/2020
- by Mike McCahill
- The Guardian - Film News
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