Exils

...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.

This movie is a bit weird, but it's a nice multicultural experience though. It's about a man and a woman which are French but have Algerian routs that go on a journey (on a walk trip!) to find out these routs in Alger. They cross the south of Spain and meet many people, from Arabs to Gypsy. This film is very interesting from the cultural point of view, but is a bit weird sometimes, because we don't know anything about these characters, who are they, where they came from. Just during the trip we start finding out something about them, but even so many questions still open after the movie ends. It's an artsy movie, that's for sure, with a great cultural and musical impact, but it gets a bit strange and boring at parts. The plot could have been better, but I'll score it 7/10 because of the great soundtrack (which has Flamenco, Arab and Electro/Techno music), the very weird tribal-ritual scene (near the end), and also the artsy cinematography.

If you have the ability to get a story from great images and great music, you might adore this movie as much as I do. If you like traveling, this is a journey into the Arabian world, and also towards the inner soul.

The plot and story are not on the surface, but there's enough, if you are able to take it... Maybe it helps if you're not too much part of the individualistic, and sometimes very empty and flat western society these French Algerians are getting away form, to find their roots...

An auditive and visual pleasure, a sexy and messed up trip to who they are, and were they wanna be... And it's a great pleasure to get there with them!

As I watched this movie, I became more and more curious, because of the director's obvious love for music. In fact, not only did he direct the movie, he also created much of the music that added up to a stunning soundtrack. But when I get back to my computer, I see that I have in fact already seen a movie by him - Swing - in which wee Max develops an understanding of gypsy culture and guitar playing. He is also famous in certain quarters for Latcho Drom, a movie I have never seen.

Exiles has, at its heart, a road movie. Zano is an Algerian in Paris, completely cut off from his roots - the film opens with him staring out of his flat window over the rooftops, no doubt imagining a different life, because he turns to his girlfriend, Naima, and says "lets go to Algeria". As you do. Naima is harder to work out - for the most part, she seems pretty banal, trivial even, interested solely in her own immediate pleasures. So, when she's in a bar one night, she thinks nothing of slinking off with another man just because he gives her the eye. But there might be reasons - they're not well explored, but it is suggested that she is even more rootless than Zano, with absolutely no expectations. Living for the immediate moment makes sense in that situation. I've said that she's his girlfriend, but I may have over-stated it: we see nothing at all of their prior relationship and only learn that they have a shared history of making porn flicks. Zano doesn't know her well enough to have been told her birthday. It may even be that by the end, she does find a connection within herself, is grounded. If she is, it is music which does it for her.

So, anyway, they are ostensibly walking to Algeria, but we see very little of them actually walking - trains seem to be the preferred mode. They jump a train to near Seville, not Seville itself because the ticket collector is on his way to check their non-existent tickets. They spend some time picking fruit around Seville, and having sex among the (I think) nectarine trees - gorgeous images in this part in particular, with the lush green leaves, the brilliantly red-skinned fruit and two beautiful people playing with each other. Seville, it turns out, is something of a staging post - they meet several Algerians working the fruit fields making their way to Paris because, there, you can get fake work papers. So, there's a nice point being made about our heroes doing the reverse, going to Algeria from Paris for their specific dream of getting in touch with their background. As they get closer to Algeria, they meet more and more refugees flowing the other way.

Their trip is otherwise fairly straight-forward, apart from stealing a ride in a van onto a ferry that's not going to Algeria at all, with a consequent need to take a long ride through near desert in a ramshackle bus that breaks down, after which they're smuggled across the border. The two things that stand out throughout their journey are the scenery and the music - in all the pubs in Seville, we see these impromptu gatherings of musicians just jamming. The back seat of the bus has three or four musicians to provide a live sound track for the trip.

When they don't have live music, Zano and Naima are both plugged into their respective disc-mans - giving Gatlif and his musical collaborator, Delphine Mantoulet, a chance to show off their music. I think this was deliberate - but as they approach their destination, there is less and less reliance on this recorded music and local live music predominates. This culminates in the final main scene - there's a gathering of musicians - a handful of percussionists with little bongo type drums held on their shoulders, a fellow with something not much bigger than a ukulele but with a much deeper sound, and various female voices, ululating rather than singing. Their tempos starts slow and reaches the orgasmic. Naimo is more and more feral in her dancing - she completely lets go and is controlled by the music. I really do think that this is showing her developing a connection with her roots: after all, it follows a scene in which she's told that her vacancy is down to being entirely groundless.

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.