07/09/2005

"The good masks are mixed with the bad masks, but everybody wears a mask". In official competition this morning at la Mostra, where he was revealed in 2001 in a parallel section with his third feature Time Out, the French filmmaker Laurent Cantet made his fourth film, Vers le Sud [+see also:
film review
trailer
interview: Laurent Cantet
interview: Robin Campillo
interview: Simon Arnal-Szlovak
film profile], under the sign of the ambiguous and the unfathomable. Exploring, without taboo, the theme of sexual tourism of western women in the Caribbean of the 1970’s, the director allows the true subject of the film to slowly emerge: that of the search for inaccessible love. In the background, developed by short sequences, always mysterious, he highlights the complexity of the dangerous political and social situation in which Haïti found itself. Unfolding in languid tropical fashion, on these paradise beaches, the subtle double-bottomed screenplay co-written by Laurent Cantet and his regular accomplice Robin Campillo (based on the short story by Dany Laferrière) the film gave food for thought to the attending press and professionals. Muted reactions in keeping with the disturbing mood instilled by a film which ends with the departure of these tourists of the heart, baptised "the ones who never die " by the natives who don’t have the same chance.

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On the border separating the clichés of tropical paradise and the harsh reality of the daily lives of the inhabitants, Vers le Sud tells the story of two mature Anglo-saxon women in love with the same handsome young Haïtien, Legba (Ménothy Cesar), who lives of his charm. Played by Charlotte Rampling falsely caustic and Karen Young the ingénue with no complexes, the two westerners indulge in a competition – which will help them rediscover themselves - to gain exclusivity of this young man who allows himself to go from one bed to the other, with a smile and without commentary. But Laurent Cantet is not content with brushing the canvas of this Utopic space where the westerners seek an orgasm, easy communication (with Louise Portal completing the feminine trio), romantic love or, even more so, power over others. The filmmaker succeeds also in silently placing himself beside the Haïtians who receive from these rich benefactors a wherewithal which is forbidden beyond the confines of the hotel, in the climate of violent death that raged in Haïti. Judging neither one nor the other, and keeping explanations simples, the French director continues with Vers le Sud a cinematic journey of a great coherence, centred on what he calls "the quest for a place that doesn’t exist".

Produced by Haut et Court which will handle distribution in France from the 22nd of February 2006, Vers le Sud had a budget of 5 million euros. Co-produced with Canada, it also had support from France 3 Cinéma to the tune of 800 000 euros (half of which was co-production and the other half pre-sale). Sold internationally by the French company Celluloïd Dreams, it will be released in Italy, notably, through Mikado.

(Translated from French)