Heading South

One of those films that bit off more than it could chew. The subject could hardly be more challenging and raises multiple, complex issues : female sexuality, male prostitution, North- South relations. But the treatment somehow fails to tackle any of them convincingly. The film is surprisingly claustrophobic, most of it taking place in a "huit clos" atmosphere with mostly close-up and medium shots - this is presumably the director's choice, but the effect, as far as I was concerned, was to make it feel like one of those rather unsuccessful screen versions of stage plays. Much of the dialogue sounded thin and false to my ear. One good point - Karen Young's sensitive portrayal of Brenda. Charlotte Rampling did almost too well what was expected of her and the resultant performance is perhaps a trifle predictable.

I just saw the US premier at the American Museum of Moving Image last night [10/20/05]. Cantet and co. interweave three short stories by Haitian writer Dany Laferriere (not yet translated into English from French as of 10/21/05). Though the scope and themes of the stories differ considerably, "Vers Le Sud" is as shattering and masterful as Cantet's previous feature, "Time Out," and should similarly be talked about for years to come.

Cantet and cinematographer Pierre Milon have shot many incredibly complex emotional exchanges without relying on any obvious dialogue. Their confidence that it would cut together and 'play' so well on screen must be partially due to Cantet's having a co-writer who is also the editor (Robin Campillo). The story is told through subtle reactions, gestures and intonations ala "Time Out," but Vers's dialogue seems both more plentiful and more emotionally transparent.

"Vers" also contains more characters, incidents, and a more complex thematic scope than "Time Out." Where "Time" explored a single character's relation to work, pride, and masculinity, "Vers" explores 3 middle-aged white women's sexual and romantic desire for a teenage Haitian, black male prostitute. Cantet explores the central situation's inherent political, racial, sexual, emotional and age-related issues-- often in the same scene.

In doing so, Cantet / LaFerriere necessarily broach a number of taboo subjects: middle age women being openly sexual on screen, and being sexual with teenagers; women paying male prostitutes; white women with black men; women as one discarded, ignored caste, hooking up with another discarded, ignored caste (3rd world men of color); women giving sexual desire the same primacy in their lives as men traditionally have; the world's richest bedding the world's poorest; the willful blindness of the rich towards the suffering of the poor or foreign; American economic imperialism; the predatory nature of consumerist tourism.

In exploring these issues, Vers provokes a sense of moral/political outrage on par with the very angry, very moving "The Constant Gardener." The tourist women of "Vers" turn a willfully blind eye to the dire political / economic situation that drives vulnerable young men into their beds. To watch these women do this is infuriating; their desire becomes repellent, exploitative.

But at the same moment, we are also made to feel how touchingly human these women's needs are-- for love (Brenda), sex (Ellen) and affection (Sue). We experience their loneliness as achingly poignant, even tragic. During the Q&A, one middle-aged woman in the audience referred to the film as pro-feminist in its emotional honesty, and I agree.

The women's relations with their gigolos appear to be emotional two-way streets, albeit with a much wider lane for the Northerners. The women and young men do share affection; and it isn't hard to understand how the women could fool themselves into believing in the possibility of real love blossoming in these tropical, permissive environs.

But when disagreement or insecurity arises with the gigolos, the women's economic superiority gives them the final word. That the same characters in the same scene can simultaneously evoke nausea and tenderness is a testament to the skills of all involved.

The film feels very French in its tasteful restraint -- the sex is never shown -- and in the way it explores its politically charged themes largely through male/female relationships. The film therefore plays entirely as human drama, and never feels sensationalistic, didactic, or titillating.

I had a few *minor* quibbles with this great film. The performances of actors playing Ellen, Albert and Legba were pitch-perfect. But there were moments in Brenda and Sue's scenes when I felt them 'Acting'-- whether this is attributable to lapses in writing, acting, directing or editing is impossible to know. I enjoyed the monologues, delivered into the camera, but I thought they would have felt less artificial if another character had been written into the rooms with them, for the character to address. I also felt it lasted 1 or 2 scenes longer than necessary in the end.

Some have argued that the film should included more of Legba's perspective, but I disagree. Given the sensitivity of the film as a whole, the nationality of the original short story writer (Haitian), and in conveying Legba's emotions in particular, I'm sure that the storytellers made a conscious decision not to include more of Legba's perspective, and the film's structure is the stronger for it.

In fact, the film could only have been created by a group of artists working at the top of their form. Like "Time Out," there will not be a more complex film than Vers Le Sud this year (and I include my other art-house favorites 2046, Head-On, Last Days, Broken Flowers, Brown Bunny, The New World, and yes, Kung Fu Hustle). Here's hoping Vers gets a proper distribution.

I really don't understand those who find this movie boring or disappointing. The main characters come across as very real. All had needs to be met. The three were able to meet those needs because they had the money to do it. They journey to Haiti as sex tourist seeking out young men to fulfill their desires for orgasms, love and affection. It's really no different than men who go places like Thailand and other such places where sex can be had for a few dollars by those who live in unimaginable poverty. The film also deals with the disdain that the people who live in Haiti have for the sex tourist.

The film is well cast. Charlotte Rampling, Karen Young, and Louise Portal well portray the desperation for affection sought by them. Louise Portal as Legba and Lys Ambroise as Albert are excellent as the other side of this perverted fantasy.

Highly recommended.

Everyone despises male sex tourism. But there also is a female counterpart. This movie tells about middle-aged women, going to Haiti in the 70s. They give the native boys presents and get sex instead.

But that's not the whole truth. This is also about love tourism, because obviously these women have serious crushes on particularly one boy.

Is it just another form of imperialism or is it more complex? Why do we somehow pity these women, while we're condemning men in the same situation? This movie puts questions you didn't want to hear and turns things around.

A great topic and script headline 'Heading South' a movie about three women who vacation in Haiti in the 1970's for the sun and surf, but mainly to bed any black men they can find (who are available for the price). I mean, THAT'S fabulous! Who would've thought of that? All of them though, seem to have sights on one man, Legba. The competition for this man, soon becomes to the point that Legba tries to get out of his job as stud-for-hire, to somewhat catastrophic results. The three women, headed by the always excellent Charlotte Rampling, are quite great here, but the star here is the actor playing Legba, Menothy Cesar. The story essentially revolves around him, and he does a great job with actually a really demanding role.