Exils | Review

Gatlif pulls out map to his own roots.

Road movies with what are called “open” narratives are a dime a dozen, but this tale about a spiritual migration down south is loaded with an array of unusual cinematic senses and a narrative that is propelled by the unexpected. Though it seems almost accidental and frivolously constructed, writer-director Tony Gatlif’s vibrant, rural dreamscape is about a long-awaited mental journey home. Exils features a twosome, who on a whim and out of boredom, they trek across France and Spain and a final destination point with adventure in mind. Seeking to find part of his heritage Zano (Romain Duris – L’Auberge Espagnole) returns to his father’s native land of Algiers – it becomes apparent that the difference between the immigrants that are making their way up north for a better life and himself is not only the direction of their journey but the color of their passports. Sun-drenched and sex-starved, he and Naima (Lubna Azabal) are offered with a bundle of energy – sometimes the comedic and serious experiences between the two seem too staged for the camera, but the “re-awakening” experience works especially well. Earth tones and textures become important symbols for the film; certainly the different nectars of life from the splurges of wine to fruit-picking off a tree thematically address the return to the center of creation – to the roots of life. Filled with a sense for discovery, fruity colors and euphoric sounds, this is a superbly shot film with a pulse – the visual strategy, the landscapes and the Celine Bozon’s cinematography are the film’s chief strength. The film’s final ten-minute sequence depicting a trance-like African dance called Sufism is a debilitating viewer experience that brings all of the narrative’s mishaps and personal discoveries to a grinding halt. Winner of the Cannes award for Best Direction, Exils is an unpredictable, frantic ride full of perfect eye-candy moments.

Rating 3 stars