Kaurismäki’s Le Havre is a community, one in which people don’t think twice about helping an immigrant (just as the best of them would have hidden a Jew from the Vichy government years before). And in the coda, both a woman and nature itself are reborn. Sappy? I don’t know. Perhaps instead we should call it “counterfactual utopianism.” Kaurismäki uses cinema to envision a world in which the love of humanity overcomes borders, even the one between life and death.
July 31, 2012