Dheepan (France, 2015)

What’s it all about?

I was enjoying Dheepan‘s representation of migrants on a French estate dominated by drug dealers until the end. Director Jacques Audiard seemed to be drawing parallels between the outsider status of both and the precariousness of drug dealers’ existence being not entirely dissimilar to the Tamil Tiger’s civil war. At the start of the film we see Dheepan escaping Sri Lanka at the end of the war, the Tigers having been defeated. He is thrown together with a woman, Yalini, who we meet trying to find an orphan child to complete their ersatz family.

Most of the film portrays the ‘family’s’ integration, of sorts, into French society and gives a powerful perspective from the outsider’s view. When one of the drug dealers explains to Dheepan, who’s the caretaker on the estate he’s living in, that he’s not from around here and he’s brought in because he has no connections, the film seems to be showing the two group’s similarity: neither belongs to where they are. Similarly, Yalini finds herself looking after a debilitated old man whose son is the local ‘drug lord’, Brahim. Vincent Rottier is sympathetic as Brahim but not sentimentalised. That fact that Jesuthasan Antonythasan, playing Dheepan, was actually a Tiger adds to the realism.

However, at the climax of the film this social realism is replaced by a ‘worm turns’ thriller narrative as Dheepan’s Tamil Tiger is reignited by an encounter with ‘the Colonel’ who, dementedly, is determined to continue fighting, and anger at a shoot out on the estate. It’s interesting to mix two seemingly unrelated genres although I didn’t find it convincing. And as to the ending… (won’t spoil) but it’s so far fetched that I don’t believe Audiard believes it either. Even if it’s not meant to be true but a fantasy I still don’t find it convincing. I was more interested in Yalini’s story anyway for her oppression was greater than Dheepan’s.

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