Welcome

After watching this movie in an almost desert movie theatre I was overwhelmed by sadness, but after reflecting upon it, I could discover very positive feelings and a very interesting view of the theme handled. What I liked most is the idea of intertwining the story of human solidarity between Bilal and Simon with the also deep relationship between Simon and his wife Marion. I intended the movie truly thought-provoking in the way it manages to make one reflect on the concept of the "other", who is not only the distant, unknown one, and on the idea that human solidarity begins with those who live with us or near us day after day. Marion is so animated by the need to help the poor, abandoned clandestines, that she has in turn completely abandoned, physically and psychologically, her husband, to the point of being no longer able to see his truly loving soul. And the sad, moving and intense story between Bilal and Simon will help both to understand the value of human affection, which starts from the nearest ones, leading naturally to the furthest ones. I think this is a very interesting perspective, which goes beyond social denunciation and void criticism of institutions, because it appeals to the conscience of the single man and woman and seems to ask him/her: how much are you ready, in first person, to give to others, to go beyond selfish needs, how much are you able to sympathize with anyone, where anyone is a member of your family, as well as the "anyone" you may meet on the journey of your life? The cast, above all Vincent Lindon and Audrey Dana, are extraordinarily good in the way they manage to speak with conciseness and naturalness to the heart of the viewer. It is a movie which makes one reflect deeply on the reality of the clandestines (with which each European citizen and authority have to come to terms daily, without often finding certain and respectful attitudes) but more deeply on the very essence of human affection. A must see.

When the Kurdish boy Bilal, on the run from war-torn Iraq, is caught trying to cross the border into Englad, he ends up stranding in Calais. Here he meets Simon(in the process of divorcing his wife), who is as taken aback by the 17-year-old's sheer determination to meet back up with his girlfriend, Mira, in London as we are, and agrees to teach him how to swim. Yes, this kid wants to cross the channel. This is about love, the criminalization of refugees and people fighting against seemingly impossible odds. I have yet to watch anything else by this director, but now I will be on the lookout for it. He correctly realizes that this story is powerful enough, and thus does not need any manipulation for us to be deeply affected by it. Everything in this is underplayed, merely showed, and it is absolutely heartbreaking. The music is minimal(that, or it was so subtle that I did not notice it most of the time) and subtle, with only a single use of a tense piece(and it was still not overbearing). Other than that, it consists of a soft, sad piano, a sort of "voice" to the helplessness of the situation. While the young couple are seldom granted even direct communication(it tends to be second-hand), we believe in their deep feelings for one another. The acting is excellent all the way, and the characters are well-written, and like everything else in this, credible. Granted, this only really shows one side to the argument... still, no one in this feels "evil". Another great thing, and one that also helps it be more removed from Hollywood, is that everyone speaks the language that makes sense for the situation. Their native tongue, or English if they're talking to someone who won't otherwise understand them. There is a little sensuality, moderate violence and disturbing content in this. I recommend this to everyone who can comprehend it(maybe no one under 11). 8/10

A really nice piece about the want to reach your new life and your love. I really liked this piece. The acting was very nice and I thought the thematics of the film was interesting.

I liked the way the director used very plain ways to show emotions inside scenes. There were not that much underlining and there was room for the audience to think and gather some pieces.

The music was also very strong. There wasn't too much of it, but the scenes where it was used, It really gave something to the film.

I recommend this film for an adult viewer who is interested in civilizing him/herself. The one thing that dropped my points from 9 to 7 was the length. It was just too long and it was a great crime with this film not to edit all the boring stuff away.

The noun's meaning: a cordial greeting or hospitable reception given upon arrival; as well as its verb and adjective are horribly absent in Calais.

The crossing of the Channel is a treacherous endeavor for asylum seekers and illegal immigrants. The Channel Passers charge an arm and a leg (with little to no regards for safety conditions) for their clandestine operations. If caught asylum seekers and illegal immigrants are processed, tried, and sentenced to a life in limbo.

Their status allows them to stay in Calais but they are unwelcome and not allowed crossover to the Promised Land. Social workers are kept under careful watch and harassed by the authorities.

It is illegal to welcome an asylum seeker in your home. Jail time is awarded to good souls.

From Calais; when the fog clears, you can catch a glimpse the white cliffs of Dover: 34 km of rough waters to reach the Promised Land. By boat it takes 35 minutes to cross the Channel. By swimming… the world record was set at 6 hours and 57 minutes by a professional swimmer.

After traveling over 3000 km; from Iraq to France, Bilal; a Kurdish refugee, will attempt to crossover the Channel, by any means necessary.

This is a beautiful but devastating movie that will haunt your nights and dog your days.

Simply put: it is a must.

"I knew a boy who tried to swim across the lake, It's a hell of a thing to do, They say the lake is as big as the ocean, I wonder If he knew about it" (Yoko Ono,lyrics slightly modified)

Lioret is one of the most promising French directors .His "Je Vais Bien Ne T'En Fais Pas " deeply moved the crowds .His "welcome" is at least as good,as harrowing and as...pessimistic , noir as his precedent effort.

He chose the right actor as the lifeguard :Vincent Lindon was perhaps never better in his part of a disoriented man ,estranged from his wife , in search of the meaning of his life .With his weary face ,his disenchanted looks ,he seems to carry the weight of the world on his shoulders .Which he does ,in a way.

France ,par excellence the country of refuge (particularly political refugees),is shown in a less-than-flattering light than usual;on the other hand ,one can wonder whether the United Kingdom is really the promised land as it appears in the film.In Calais ,people who gave a shelter to illegal migrants were actually troubled by the Police .Although this is not a true story,all that happens to the lifeguard is credible.

Images of Police vans,of sad beaches ,of free meals ,of informers (the neighbor claims that Simon helps the young Kurd in return for sexual relations!)

The divorced hero has become a cliché;but Lioret makes brilliant use of the screenplay cliché: it's perhaps because Simon has become a lonely man that he takes in his young protégé (one should note he's got no children whereas he is in his fifties ).Simon is ready to give all: his reputation ("yes I'm a gay,I sleep with him ,and I sleep with guys that's why my wife walks out on me" ),his dear treasures (his gold medal:"I gave him" ),and maybe even his job .

To swim across the Channel to get to your girlfriend Mina is an impossible task when you are 17 and you're not a first class swimmer.It's the young man's dream and Simon makes his dream his.

"Welcome" is a great movie,one of the best French movies of the last ten years.