Pour les dialogues, dans un français très approximatif, fleuri et forcément argotique, qui renforcent un peu plus l’immersion. Pour un film qui n’oublie jamais d’être cinégénique, notamment lors d’un sublime plan nocturne qui illustre la mort de Boniface. Mais aussi pour sa réalisation soignée qui culmine dans son chapitre final lors d’une course poursuite intense et onirique, hors du temps et du monde.
Je ne sais jamais trop quoi mettre comme étoiles à ce genre de film (alors j'en mets trois, ça n'engage à rien). Pas de doute que ça vaut la peine d'être vu (sociologiquement et humainement), que c'est fait avec beaucoup de sérieux et de talent, et en même temps on a du mal à voir autre chose qu'un documentaire un peu scénarisé. Mais je ne regrette pas de l'avoir vu, et je reste fortement habité ensuite.
Comme dans le film précédent du réalisateur, avec en partie, les mêmes acteurs investis dans "une interprétation documentaire" de leurs personnages, on est séduit par l'atmosphère fort particulière du film qui transpire une solide authenticité narrative et démonstrative, manquant tout de même d'intime et sauvage émotion... www.cinefiches.com
(4.5) Beautifully shot and directed with a sense of grace, yet driving ambition during the action scenes. Great heart-wrenching story about the sins of the father and the brokenness of a family of men. Takes a steady look at the struggle between light and dark, religion and anarchy. Great film.
I don't know what I thought I was going to get from this movie, but it was not what this movie gave me. It definitely was sold as more of an equal mix of the two genres it was said to inhabit, but falls much more into the french art house without giving enough of a balance to the two. This unfortunately falls into the category of false expectations spoiling what would have been a fine movie.
Hue continues his immersion into the Yeniche Roma community in France with this follow up to his earlier feature 'La BM du Seigneur'. A young man, whose older brother is just released after a 15 year stint in jail, accompanies his brothers on an excursion into possible crime and definite tragedy. Not as involving as one would hope and certainly overshadowed by similar themed films.
"The images often arrest, vividly, and these young men impress, their presence as potent as that of the... beloved Alpina racer, its guttural, revving engine, the dingy, archaeological underground garage they find it in, the weights, the bare chests, the cropped hair, blinking eyes, spat accusations, the flying-by pleasure of road speed. Not perfect but certainly a dusky gem of a film." Daniel Karman, Mubi Notebook
Gritty, gutsy immersive interlude in the lives of the less respectable element of French Romanis. Does little to counter racist stereotypes, but provides a revealing account of bonds, bonding and familial responsibilities that develop among those outcast from the mainstream. A tough watch.
2.5 Why did the title not get translated literally as "Eat Your Dead"? It would have made sense in English, and "dead" instead of "bones" has more meaning with the father's death and erasure of a violent ethos. Good costuming on Jason: pure white clothes to keep clean until his baptism, yet dirtied by grease, diesel, and blood. His new white shirt has black piping to show his brief brush with the dark side.
Compelling, intense and just a really amazing film. The Hollywood Report said " a gritty Gallic noir set among the slang-spouting trailer park gypsies of Northern France, whose love of beer, barbecue, crime and God are about the closest thing Europe may have to the gun crazy communities of America’s Deep South." Close enough.
Starts as a promising portrayal of the romani community but quickly degenerates into the perils of 4 halfwits on the road. From social anthropology to drama through oddly comical in a heartbeat to end up with plain ridiculous. Hue delivers a stylish nocturnal cry on a single tank of petrol. However the farcical aspects, one suspects, were far from intended which sadly makes you quiver.
Did I miss the point? I really admired the Cinema Verite style of the film (shades of New Wave meets T.Malick), which should have complimented the subject matter, but as a whole I really felt it underachieved. You had four very unlikeable men constantly shouting at each other (whether they were walking or driving), and drama this did not make. This firmly sits between 1.5/2 stars just for the style of the film.