Camille

This beautiful and inspired from actual events film is somewhere the response to another French movie: SYMPATHIE POUR LE DIABLE, and also speaking of a war photograph, or reporter, but setting in Bosnia instead Central Africa. The depiction of the events and war atmosphere of barbarism and brutality is well shown, and above all the true, deep dedication of this female reporter, her courage, or may I say her unconsciousness in front of the atrocities of tribal war. Acting excellent but gloomy by its realism.

Her admirable job in the role of Camille Lepage is the spice giving force , realism ( in many senses the film becomes a docu-drama ) . Her entire energy is reflected in the craft of character. The film can be discovered at many levels, from the idealism of youth, fighting for noble causes , the mission of war reporter, mentioned in film, who can not be broken if you desire to survive , to the changing of status, from observer/ witness/ the reporter to the part of conflict. In same measure, it is a remind about the civil war in Central African republic. Short, for acting, image, message, a powerful work.

"Camille", this is quite a brief title.

Given its announcing a story featuring a person that existed, one could have expected it to be twice as long, in other words it would not have been surprising if it had displayed its heroine's full patronymic name, "Camille Lepage".

But the project of Boris Lojkine in what is his second fiction film (the first, "Hope", is already a classic in its genre) does not consist in erecting a statue to his main protagonist. What the author-director actually wants does not consist in replicating devotedly everything the young photographer-reporter said and did. He in no way wishes to make her a figure of worship; on the contrary Lojkine aims to approach her as a human being, in all her singularity and complexity, with all of her shadows and lights. Hence the use of the mere first name, which suggests intimacy and inner charcter, while the full name would rather have implied an external, hagiographic treatment.

No oily portrayal in "Camille" then, which does not prevent the film from being a detailed account of her life, or more precisely of the last months in her twenty-six years on earth. But more than just relating facts, it is also Camille Lepage's psyche that Boris Lojkine has undertaken to explore. Throughout the film questions arise to which it will not necessarily provide answers: why was photographer Camille Lepage first attracted to war zones? Why did she feel better there than in her own country (France)? Why did young Central Africans become closer to her than her own family? Why did she renounce neutrality and move to the camp of the anti-falaka, a vengeful Christian militia, whose reprisal operations were as violent as those committed by the Muslim radicals ? And to the point of getting killed by their side? So much so that when the end credits roll Camille Lepage will have kept her mystery. But will have taken flesh (and soul) as a complex and authentic human being. In her role, Nina Meurisse is more than just perfect: she IS the young idealistic reporter, from head to toe.

The film's other main point of interest is its documentary historical and geopolitical aspect. Watching "Camille" is like being part of the Civil War in 2013-2014. The facts both accurate and clearly stated. Furthermore, not only does the director know the situation like the back of his hand but, unabashed by the difficulties and the dangers, it is on the spot that Lojkine reconstructs it and with actors and actresses who have taken part in it, which is not so common. Speaking of actors, it is worth noting how convincing they are, whether they are European or Central African. As far as the latter are concerned, the quality of their acting bears witness to Boris Lojkine's talents as an actor director.

And let us not forget some very interesting considerations about the job of war reporter, about what they have the moral right to show or not to show, about the risks they take, about how they can be treated by the protagonists of a conflict. "Camille" says a lot of relevant things, but without heaviness or schematism, always subordinating thought to action, ideas to psychology.

Avoiding any facility, Boris Lojkine will have captivated the spectator from beginning to end with this story which not only rings true but is true. Recommended.

War - what is it good for. Now there are many wars - even as I write this lines, there are wars going on. Most of the conflicts, depending on where in the world you are, you might not even hear about. News are grim in general, talking about ongoing wars (in Africa for example like in this movie) is not something people in Europe, America or certain other parts of the world want to know about.

I'm speaking generally of course, because there are folks who are not only interested but want to help. Are they helping by going there and taking pictures, to circle back to my summary line? Or are they part of the problem too ... there are many moral questions you may have and the movie raises some of them, by way of one very well known photographer (as I found out by watching the movie). The movie will not give you easy answers and intercutting, real footage and stills from the photographer only heightens the reality and the anguish those involved are in.

Not an easy movie to watch at all and certainly not paced for those who are looking to be entertained ... just be aware what you let yourself into. The acting is really good btw and the movie does almost feel like a documentary.