The Snows of Kilimanjaro: The pleasant surprise of Robert Guédiguian [critique]

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Worn by Jean-Pierre Daroussin, this film will be broadcast tonight on France 3.

The Snows of Kilimanjaro, by Robert Guédiguian, borrows its title from the famous novel by Ernest Hemingway, but tells us a whole different story: Although having lost his job, Michel lives happily with Marie-Claire. These two have loved each other for thirty years… Their children and their grandchildren have fulfilled them… They have very close friends… They are proud of their union and political struggles… Their conscience is as transparent as their gaze. This happiness will shatter with their French window in front of two young armed and masked men who hit them, tie them up, tear off their wedding rings, and run away with their credit cards … Their dismay will be all the more violent when ‘ they learn that this brutal attack was organized by one of the young workers made redundant with Michel.

First was surprised by this feature film, which shows how much in a lifetime, everything can be taken back to us in a fraction of seconds. Here is our review, published during its broadcast as part of the Cannes 2011 festival. We will share it again on the occasion of the replay of the film, at 9:05 pm on France 3. Note that it will be followed by a new French feature film clear : Fellow, by Marion Vernoux, with Ana Giradot and Nicolas Duvauchelle.

We know Robert Guédiguian well, his popular chronicles flavored with aioli, his santons that smell like the left in the old fashioned way. The Snows of Kilimanjaro had gone to be just that. And then no. The racketeering of the small exemplary couple poses on this Marius and Jeannette chapter XV the threat of a vigilant movie. Emulated by Jaurès, Michel (Darroussin, imperial) dreams of himself as a solitary vigilante, and his brother-in-law, also robbed, would see himself in Charles Bronson. The strength of the film lies precisely in this ideological test, a formidable tension which consists less in trying the guilty than in questioning the victims. Because, in full social decay, it is this generation subject to self-satisfaction and designated by the following as privileged that Guédiguian probes, between courage, lucidity and tenderness. At his age, you had to dare.

Trailer :

La Villa – Robert Guédiguian: “I wanted to make the biggest film in the world in the smallest place in the world”

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