Exils

EXILES is a Tony Gatlif fantasy, complete with lots of music and dance, of what it might be like for a young French couple of Algerian roots, to hitch their way from France back to Algeria (for most, these days, it's the other way 'round). The two seem not to have much or any money, but then they do, but then they don't. They occasionally work to pay their way (with a rather laissez-faire attitude, I must say), screw (not always with each other), and have beaucoup psychological problems. For a couple who carries no baggage, there is way too much emotional baggage here. That's usually the mark of a young filmmaker, but as Mr. Gatlif is nearing 60, I guess we'll have to chalk it up to something else.

I call his film a fantasy because, try as I did to believe these characters and their situation, I couldn't. Or, if they ARE believable, then they are also sometimes simply too stupid to be endured: the couple sneaks aboard a ship without knowing where it's going; they haven't bothered to bone up on Algeria enough to know that certain of its borders have been closed for several years; worst of all, they have no clue that women in Muslim/Arab countries are expected to cover themselves (the year here is 2004, well past 9/11/01, and these are Frenchies, for Christ's sake: If they are not used to Algerians, who the hell IS?). On the plus side we have a lot of color, music and dance, nice cinematography (dig that succulent orange near the finale) and the gorgeous Romain Duris (most recently of "Russian Dolls" and "The Beat My Heart Skipped"). Mr. Duris, hirsute and slender, appears fully nude, front and back, in a rather lengthy shot at the film's beginning; this may be more than enough to induce some viewers to stick around. Did I mention that the film deals in fantasy?

Beautifully-filmed road movie with long musical sequences. The tale of two losers that hit the road to reach Algeria from Paris is peppered with vibrant musical interludes that echo their journey back to their roots, from nose-bleed techno, through passionate flamenco to raw Algerian trance. Once they get there, Gatlif loses his hand a little by not concluding the story. Naima is portrayed as a loose cannon throughout the movie, with hints to her past and a huge question mark over her future. Neither of these is I think is answered conclusively. On a sidenote, is this not one of the most explosive women on screen since "Betty Blue"?

But a pretty entertaining tale very well played by the two lead actors, Lubna Azabal and Romain Duris.

...just commenting on the bit where you mention porno flicks - I didn't have the same take on the situation in this regard. My impression is NOT that they were actual porn actors, but that Zano is basically accusing Naima of being a bit of a slut and to insult her he says "where did you learn to f^&* anyway?" to which she replies, "I learned from porn films like you!". The story alludes to the fact that Naima has had a bit of a rough life so far and this may be why she has issues with intimacy leading to promiscuity. Also, the story also hints that Zano and Naima haven't known each that long before they decide to go on this road trip-hence some of the conversations the couple have to find out more.

"Exils" is terrific on many levels. Beautiful composition, locations, light, cinematography, performances, and music. The story moves from one marvelous setting to another. The shot's are beautifully composed. The people are "real." I'm amazed that one of the previous reviewers is disturbed by sensuality. It seems that the characters are a bit too real for that person. I'm surprised at the number of other reviewers on this site that fail to connect with the essence of "Exils." Maybe they've never traveled on the cheap or experienced the beauty of random meetings and relying on the good will of strangers. Watch it again if you have the time.

In Tony Gatlif's distinctive film 'Exils', we meet a young French couple: he is ethnically French, she is Arab, but both had Algerian ancestors, and the movie follows them after they spontaneously decide to abandon Paris and investigate their roots. The couple are presented in the film as very sensual, and the music and images that surround (and define) them are shared also by the viewer. The film touches on some interesting ideas, notably the not always chosen trade-off between freedom and belonging, and ends with a remarkable extended sequence depicting an Arab ritual of personal abandonment that bears comparison to (and is in fact more disturbing than) anything from 'The Exorcist'. What it doesn't have is much of a conventional plot beyond the collage of sights and sounds; and the characters, though strongly-drawn, do not evolve dramatically over the course of the movie. It's still a striking piece of work; but fiction is being used here, rather than serving as an end in itself.