Writer-director Emmanuel Finkiel’s fourth underline stars Nicolas Duvauchelle (‘White Material’) and Melanie Thierry (‘The Princess of Montpensier’).
Not utterly elementary yet unequivocally serious, A Decent Man (Je ne suis pas un salaud) is a dim and brooding mural of contemporary malaise, a account of still recklessness seen by a eyes of a French father incompetent to cope with complicated life, until he temporarily finds service by accusing an Arab girl of a crime he didn’t commit.
This fourth underline from writer-director Emmanuel Finkiel after his earnest 1999 debut, Voyages, stars Nicolas Duvauchelle (Polisse) as a maladjusted, increasingly flighty Eddie, and Melanie Thierry (Zero Theorem) as a mom and partner perplexing to say sequence in a pell-mell household. The dual immature actors broach greatly driven performances in a film that takes some startling turns in both structure and form, though, like a categorical character, winds adult shifting off a rails a bit during a final reel. After premiering internationally in Dubai, Man is receiving a tiny melodramatic recover in France, with possibilities for niche art-house play in a handful of offshore territories.
First seen appearing over a countertop of a bar, 30-something Eddie spends some-more time celebration and moping about than he does looking for beneficial employment. Besides enjoying a few afternoons with his son, Noam (Johann Soule) – from whose mother, Karine (Thierry), he’s been distant for a certain time – Eddie tries his palm during a sales career, yet has conjunction a glamour nor a people skills to go unequivocally far.
After another inebriated night on a town, he winds adult hospitalized when a rope of thugs gash him outward one of France’s notoriously murky housing projects. (Karine lives in a housing plan as well, yet tries to debonair adult her place as most as possible.) For unexplained reasons – it could be an honest mistake or a counsel tactic – Eddie fingers internal Arab child Ahmed (Driss Ramdi) as a principal culprit, presumably since he saw him in a sales training video progressing on.
Soon a trusting Ahmed is jailed and Eddie is behind vital with Karine and Noam, operative a new pursuit during a unequivocally Ikea-like box store (called “Homea” here) where his partner is one of a venerate employees of a trainer (Nicolas Bridet) who binds her in high venerate (and presumably some-more than that). It’s a provisional repair that has Eddie quelling his baser instincts to try and make family life work, until a flourishing fulfilment that he indicted a wrong man, as good as a pressures of holding down a job, lead him towards an act of pristine madness.
Focusing with razor-sharp pointing on Eddie’s inability to adjust to a genuine world, yet never delving into any kind of psychological reason or backstory, Finkiel presents us with a impression who simply can’t accept a tender understanding he’s been dealt in life, rejecting everybody and all by undisguised sourness and a solid insensibility supposing by alcohol. Seen framed in windows, doorways or differently gazing out during a cell-like apartments in a housing retard opposite a street, Eddie is portrayed as a restrained of his possess existence whose usually shun is to incorrectly chuck somebody else in jail.
But such a postpone is short-lived, generally when Ahmed confronts Eddie before a discreet magistrate, who seems as doubtful during times of Eddie’s accusations as a rest of us. Duvauchelle is during his best in these moments, personification someone so uncertain of himself – and so unlikeable in other aspects – that he stands by his lies simply to save face. Finkiel gets most mileage out of his expel though overdoing it, regulating greeting shots to demonstrate deeply unsettling feelings that can frequency be communicated by dialogue.
If a enmity outcome can seem sincerely stylized during times, a work of cinematographer Alexis Kavyrchine (Vincent) arrestingly captures Eddie’s life amid a backdrop of soul-sucking contemporary structures – either it’s a petrify building he calls home or a room of bonus seat where he toils divided with no pleasure whatsoever. A sparingly used electronic measure by French DJ Chloe also adds to a ubiquitous feeling of unease.
The film’s aroused culmination won’t come as a warn to anyone who’s watched a news over a final few years, generally in a U.S. And while some of a characters’ decisions during those shutting scenes can feel like a stretch, they don’t unequivocally take divided from Finkiel’s underlying ambition: to uncover how Eddie might not indispensably be a decent man, so to speak, yet it’s a universe he lives in that turns him into something much, most worse.
Production company: Thelma Films
Cast: Nicolas Duvauchelle, Melanie Thierry, Driss Ramdi, Nicolas Bridet, Johann Soule, Maryne Cayon
Director, screenwriter: Emmanuel Finkiel
Producers: Christine Gozlan, David Poirot
Director of photography: Alexis Kavyrchine
Production designer: Rozenn Le Gloahec
Costume designer: Agnes Noden
Editor: Sylvie Lager
Casting directors: Juliette Denis, Aurore Broutin
Sales: Bac Films