LFF: Family Matters...(pt3)

A low key drama speaks volumes about the difficulties of life lived under Mafiosi's control  in The Interval, which is the focus of Family Matters part 3.

 

Italian documentary maker Leonardo di Costanzo makes his fictional feature début with the engrossing, understated crime drama, The Interval, a chamber piece focussing on two teenagers beholden to the crime families that dominate Naples. Where Matteo Garrone's critically acclaimed Gomorrah (2008) explored similar territory in sprawling, violent fashion, di Costanzo opts for a smaller scale, dialogue driven narrative that sucks the viewer in as the initially fractious relationship between the central protagonists softens into understanding and mutual respect.

The straightforward plot sees unprepossessing Salvatore (Alessio Gallo), an overweight teen who ekes out a living selling ice creams with his father, co-erced by local gang members into keeping watch over the sparky Veronica (Francesca Riso). Brought to an abandoned asylum, Veronica has fallen foul of her local crime family for an undisclosed indiscretion, with Salvatore charged with keeping her there until her punishment is decided. Initially wary and hostile respectively, Salvatore and Veronica circle each other in mutual distrust, both wishing to be elsewhere, both knowing that the decision isn't their's to make. Freedom and fate being out of their hands is key to di Costanzo's narrative, the viewer may be taken into a micro-world but the dominant macro-world that surrounds Salvatore and Veronica is never far from either their or our minds.

It's to di Costanzo's credit that what is a bare bones narrative, shorn of the violence and testosterone heavy machismo usually associated with Mafia movies, is so engrossing. The thawing of tensions between Salvatore and Veronica is handled deftly. As they come to realise they are both at the mercy of outside forces a convincing, fledgling relationship builds between the pair. While exploring the abandoned asylum and its grounds, the discovery of a small boat, the photo of a suicide victim and a bitch and her puppies by the pair allows di Constanzo to impart the story with metaphorical weight. Dreams of escape, the spectre of death and family ties (biological and environmental) are all explored subtly via the part childlike, part streetwise conversations Salvatore and Veronica engage in.

Quiet yet intense, closeted yet far reaching, The Interval is an intelligent, unforced representation of lives manipulated by tradition, crime and psycho-geography. The abandoned, decrepit asylum which plays host to the teenagers' meeting providing a stark metaphor for the city it stands in.

LFF: Family Matters...(pt1)

Quite coincidentally, the three films I managed to catch at this year's BFI London Film Festival - 

Jacques Audiard's Rust and Bone, Joachim Lafosse's Our Children and Leonardo Di Constanzo's The Interval - between them take a microscope to contemporary 'family' life. Whether biological, surrogate or criminal, the families on show in these movies - all European, all leaning towards the arthouse end of the spectrum - offer some indication of the pressures felt across the generations, genders and social classes in the modern world. The ties that bind these disparate characters together more often the cause of anguish rather than comfort. Not without their flaws, some bigger than others, Rust and Bone, Our Children and The Interval overwhelmingly portray a pessimistic outlook on modern life, but there is some hope amidst the gloom.

After firmly establishing himself as one of France's, if not Europe's, leading directors, Jacques Audiard returns to our screens after a three year absence with the engrossing if, at times, credibility stretching drama, Rust and Bone. Expectations were high for Audiard's sixth feature following the awards winning The Beat That My Heart Skipped and A Prophet, and Audiard is clearly directing with confidence, enthusiasm and a finely honed auteur's eye in his latest venture. Starring Marion Cotillard (as hot a property in the film world as there currently is), and Matthais Schoenaerts, Rust and Bone throws its two central protagonists, Stephanie and Ali, into a turbulent, offbeat and touching relationship that encompasses issues of parental responsibility, disability and economic survival on the margins of society.

Ali,  a roughly hewn bull of a man, finds himself staying under his sister's roof, a sibling he shares a fraught relationship with, with the son he has previously barely taken an interest in now  in his less than adept care. Eking out a living in security and then as a bare knuckle boxer, Ali's chance encounter with the seductive but troubled Stephanie, when he escorts her home after an incident she's involved in at a nightclub, proves to be the beginning of an emotional, spiritual and romantic journey that sees as many crushing lows as it does ecstatic highs.

Audiard largely avoids sentimentality and worthiness, an achievement of note given that a major plot point revolves around a work accident, as bizarre as it is horrible, that leaves Stephanie a double leg amputee. Her job as a whale trainer, the cause of her catastrophic loss, brings nature - its forces and its taming - into symbolic play. There's an earthy feel about Rust and Bone; physicality, flesh and the body (it's power and the loss of it), keeping the narrative's flights of metaphorical fancy anchored to the ground they are periodically in danger of escaping. Two sides of a coin battered and tossed about by life's experiences, Ali and Stephanie undergo opposing changes during the course of the movie's two hour running time. Stephanie toughening up and Ali discovering a hitherto untapped strain of nurturing compassion, with both of them adapting to fluctuating fortunes with the spirit of survival they share as a common bond.

A bold and unique attempt to de-schmaltz what is in essence a familiar tale of love against the odds, and one that would fall apart in a lesser director's hands, Rust and Bone does stray into improbable territory towards its denouement, a climactic incident straining a little too hard to make its symbolic point. In the end, though, Audiard's vision of the coming together of an ad hoc family is likely to linger in the memory; its emotional pull as strong as the composition of its imagery.

To Be Continued...