An official selection at both the Montreal and Berlin film festivals, Wild Camp (called Camping Savage in its original French language and bearing no relation to the French-Canadian film of the same name) manages to be relatively simple and short; and somehow haunting and evocative.
The second feature by writer/director duo film, Christophe Ali and Nicolas Bonilauri is set in a modest campground in rural France, and focuses on seventeen year old Camille (Isild le Besco) who lazes about the camp, arguing with her parents and visiting her boyfriend who works as the camp barman. She is extremely bored and prone to wandering away from the strained relationship with her mother and father and has many friends and admirers also vacationing or working within the retreat; but somehow, under the surface, has nothing in common with them. Enter Blaise (Denis Lavant), an ex-con who arrives to make some money as a sailing instructor. We learn that Blaise’s brother in law is a camp director and has apparently given him the opportunity to work his way out of financial difficulties so that he may take care of the his wife and small child. Almost immediately, people are suspicious of Blaise and he his treated as an outsider–he is blatantly scrutinized when setting up his tent and , when Camille takes a liking to the man, he is viewed as a pervert, being twice her age and sporting a seriously offbeat build and facial structure (he has been called France’s Billy Bob Thornton). There are never any direct reasons for the burgeoning romantic relationship between the two; but we get the sense that Blaise is a gentle being, and the only one in the camp ground who does not slobber over or patronize Camille. When she asks if he likes her, he sais: “you’re not my type, I prefer real women.” Rumors spread fast and suddenly the whole campground is trying to separate the two–this somehow only prompts them to fulfill the assumptions with a ‘damned-if-you-do-or-don’t’ attitude.
The film is dreamy and surreal, much like the season it is set in, and the horrific act at the end is as ambiguous as the relationship between the two protagonists, or the hatred and derision of the fellow campers. Surely the film is not only a comment on age difference–France, being a country where it is common and somewhat acceptable for older, married men, to keep young girls as mistresses. There are larger themes at work here, though sometimes the story is glazed over with stereotypes and a couple tacky devices–as in voice-overs which repeat key-phrases an attempt to tell us what we should think (this, I assume, was a producer’s tacky idea to make the ending more palatable for the mainstream).
Overall, it is interesting and a pleasure to watch Lavant and Le Besco (who also has a non-conventional face which makes her strangely beautiful) and certainly not a waste of time to watch and ponder this curious little picture. The soundtrack is fitting, featuring songs by M83, adding to the growing feverish mood. All performances are up to par and the cinematography perfectly captures both the mysterious night in semi-tamed nature, along with a memorable and disturbing dream sequence; and the languid, sensual light of summer afternoons.
Not much in the way of extras here, except for a theatrical trailer and scene selection.
A curious little picture, worth watching for the interesting characters/actors (both physically and mentally), idyllic photography, good soundtrack and ponderous themes. Any shortcomings may be forgiven as it is entirely captivating for its short duration.