Les roseaux sauvages

I liked the movie even if I was left with the feeling that there was no real end to it (a common thing in French movies). It was superbly acted by four young comedians perfectly cast. The relations between them are ambiguous. Still, more depth could have been given to their characters and the story.

Nevertheless, there is an overall subtlety to the movie, something that makes it light even if the topics are not always light (Francois discovers he is gay and have some problems dealing with it, Henri is a pied noir in France at the end of the Algeria war and is in a delicate situation, not speaking about Serge who loses his brother to that same war and Maite who is somewhat oppressed by her mother who is a die hard communist militant).

It was very refreshing to see. You need to be familiar with the history of Algeria war and the tensions of that time though to fully follow. A film I would recommend to many people.

This film is truly amazing. I saw it and was so moved by it that I couldn't stop thinking about it for a very long time. It is heavily based on the director's (Andre Techine) real life experiences. In this film Techine manages to create a realistic and palpable universe which seems which if you know anything about film is a very hard thing for directors to accomplish. I asked a French DP and a friend of Andre Techine about Les Roseaux Sauvages and he told me that it was originally made for television and that it was such an enormous sensation in France that it later was released in the theaters and won many awards at the Cesars in Paris - France's equivalent of the Oscars. I will admit that some American friends of mine went to see this film and didn't get it. What a pity for them.

This was a really sensitive and perceptive story about growing up and some of the pain and confusion that goes along with that. The movie is quite quiet and doesn't feel the need to comment on everything as so many American movies do. It is the story of four young French people growing up in Provence in France in the 60s and one of the boys has a homo-erotic experience and thinks that the other boy with whom he has the experience must have enjoyed it. The other boy regrets the experience that he had and when his brother dies in the war in Algeria, he feels obliged to support his family and so declines to pursue any sort of homosexual relationship. He wants to live a respectable sort of life and doesn't want to cause any trouble. The young gay boy is very confused but is a good friend to the teacher's daughter. They enjoy dancing and seeing films and learning about various things. The girl ends up falling for a rather lazy young man who has very different political views than herself. The movie is beautifully filmed and very relaxed and slow. It is a nice reflective movie on the nature of youth and some of the struggles that kids go through. The kids handle the struggles in the typical manner of kids. Sometimes they don't handle them very well and other times they show remarkable grace and common sense. But all in all it is a wonderfully gimmick free movie which really shows how difficult it is to be a kid in any place and at any time. I would really recommend this movie to people.

WILD REEDS is my introductory piece to André Téchiné's cinematic dominion, its title refers to famous fable THE OAK AND THE REED, and it is an adolescent quartet in 1962 France, against the backdrop of the twilight of Algerian War and the demise of French colonization.

Everyone thinks 18-year-old high-schoolers Françoise (Morel) and Maïté (Bouchez) are an item, even Maïté, who is deeply influenced by her mother Madame Alvarez's (Moretti) communist slant, thinks so, they are so compatible and intimate together, although so far the relationship has been purely platonic, it is only a matter of time before it turns physical.

Françoise is a lean and feeble boy, from a petit bourgeois family, he cannot do sports (swimming is an exception) by virtue of his heart condition, he knows Maïté is his soul mate, but they can never be lovers, after he is sexually aroused by his rural classmate Serge (Rideau), son of a farmer with Italian lineage and whose elder brother would later fall in battle at the front line (after being unwillingly transported back to Algeria since Madame Alvarez refuses to offer a helping hand). A boarding school bromance is burgeoning, they become close friends and Françoise comes out to Maïté, she calmly accepts it with sincere encouragement, meanwhile for Serge, his tryout with Françoise is more or less out of a young boy's curiosity, in fact, he is more interested in Maïté, who abstains form his courtship in light of Françoise.

Thankfully, it is not a clichéd love triangle, instead it is a more dynamic quartet, the fourth force comes from Henri (Gorny), an Algerian-born French exile who is newly transferred to the class, he has lost his father in the war and becomes extremely cynical to the mainland bourgeois class (who is apathetic to the end of Algeria's colonization) and hostile to the radical leftists and communists (who are in favor of Algeria's independence). He is the alien, brings a radio in the class, picks on Serge and provokes Françoise for his sexuality, openly defies his teacher Madama Alvarez and reluctantly to accept the help from Monsieur Morelli (Nolot), until finally decides to drop out before the exam and by coincidence, meets Maïté in the communist headquarter in the still of the night, where her kindness thaws his malicious intention.

Eventually all four gather together for an excursion near the riverside with wild reeds waving around, as they let off their most honest and profound feelings, it is also a siren call to culminate the rite-of-passage of their blazing youth. The ultimate take of a 360 degree shot sterlingly singles out the lush atmosphere with a meaningful punchline, a lyrical rendition of the precious moments in one's adolescence, feeling love, experiencing heartbreak, accepting disappointment and facing an unknown future.

Téchiné magnificently teases out impressive and heartfelt performances from these four young actors, Morel, Bouchez and Gorny all rush into the top 10 tier of my yearly rank. Morel is unpolished but a pitch perfect choice for Françoise's sensitivity and integrity; Bouchez is a legitimate sensation, her Maïté, undergoes the choppiest emotional journey in the film, is utterly compelling in every frame; Gorny is detestable at first, then segues into a more sympathetic character thanks to his unfettering ire and the flitting touchiness for a wounded soul. Rideau's Serge, is offered less material to chew on apart from his jock virility, but his unaffected detachment denotes an alternative psyche in the society which hardly changes.

WILD REEDS is an intimately potent prose on how a controversial political situation can erode and alter the mindset of a young generation. Remarkably, it never begin to pall from its poetic aesthetics and robust narrative. It is deservingly a capstone in Téchiné's staunch career orbit.

Director Techine once again has made a beautiful movie, this time concerning a group of teenage friends in southern France in the early 1960's. Techine uses the Algerian war as a catalyst for the interaction between the 4 friends. As the movie unfolds, each friend discovers how they're involved with one another, in dramatizatons that the French are so good at. Techine makes good use of the idyllic, pastoral French Pyrenee countryside to compliment the personal dramas unfolding in it. You can almost smell and feel the summertime around you. A touchingly-done coming-of-age film for all ages, not just teens. So successful was the pairing of Rideau and Bouchez that they went on to make several other movies together, one of which was directed by Gael Morel, one of the stars in this movie as well.