Using an area’s name as a title for a movie might be an indication of directorial confidence, but it may also suggest a filmmaker trying to bite off more than they can chew. How does one portray a district with all its quirks and vibrancies? That’s the question Modi Barry and Cedric Ido must have asked themselves while making their debut feature La vie de Chateau. Presented in the 1-2 Competition at the 33rd Warsaw Film Festival, the picture feels like a faithful portrayal of everyday life of working-class people living nearby Chateau d’Eau metro station in Paris. The film’s fast pace, witty dialogues and freaky story may attract some viewers, but Chateau’s lack of narrative cohesion will be off-putting for those who just wanted to feel the pulse of the neighbourhood.
Charles (Jacky Ido) is a thirtysomething self-described entrepreneur, the head of a bunch of men whose job is to promote a local beauty salon to women passing by. With the younger guys from the street looking up to him, we observe his admirable king-of-the-pack position, while his burst of anger when he discovers that his supposedly one-of-a-kind jacket is just a regular, worthless rag shows his overzealous care for elegance and class. He’ll find himself in a bit of a trouble when his employees start questioning his authority and the salon’s manager schemes to replace him with another street solicitor, Bebe. A conflict arises as Bebe’s style of doing business (he’s more into sporty tank tops than fancy shirts and jackets) is different to Charles’. The looming beef has its moments, but at some point the motif completely disappears. Much like other plotlines in the film, it stays unresolved.
Other inhabitants of Chateau are depicted with little to no nuance. There’s the owner of the salon, Dan, who asks Charles to spy on his wife and see if she’s cheating on him; there’s Moussa, trying to convince Charles to do business with him. Some bits and pieces are presented as a backstory for the characters, but the rapid jumping from one person to another makes it hard to focus and care for either of them. There’s a compelling dynamic between Charles and a Kurdish barber, whose salon the main protagonist wants to buy. Barry and Ido offer an interesting take on the lives of Parisian immigrants, juxtaposing the Kurdish poet as an exiled man unable to cope with the happy-go-lucky Charles, who roams the city as a proud Parisian.
The movie’s upbeat and playful atmosphere may attract some viewers wanting to take a break from more serious works on the festival circuit, but its predictability and lack of clear structure makes it hard to say what the directors were getting at. Playing it safe is not Charles’ modus operandi, but the directors didn’t follow his style and took an easy way out framing the film as a comedy of errors, where coincidences spring up like mushrooms and one bad decision leads to another.
At times, the score is perhaps too hammy, trying to suggest to the audience when to laugh. The mostly hand-held camera diligently follows the characters, offering us a lot of close-ups on actors’ faces, while not that much time is spent on the streets, which is an odd choice for a movie about a city’s area. But then, what’s a neighbourhood without its inhabitants? Just a few blocks of flats indeed.
FIPRESCI Young Critics Warsaw Project
Monika Gimbutaitė, LithuaniaMonika Gimbutaitė, born in 1993 in Lithuania, graduated from Vilnius Academy of Arts, Art Theory and History programme. For three and a half years she held the position of a programme coordinator at European Film Forum Scanorama. She is currently working as culture journalist for 15min.lt, the second biggest news website in Lithuania.
Alexander Gabelia, GeorgiaGeorgian film journalist and activist. He's a political refugee from Abkhazia. Alexander studied history of cinema and Cinematography at Ilia State University. He writes about cinema and culture in various prints and online outlets including LIBERALI.GE, AHA.GE and he’s a cinema reviewer for on-line magazine – www.magnettemag.com. He’s been also involved into Tbilisi International Film Festival and Cinedoc Tblisi.Arman Fatić, BosniaArman Fatić is Bosnian film critic/journalist currently based in Maribor, Slovenia where he is studying philosophy at Faculty of Arts Maribor. He is a writer for several websites/magazines across balkans some of which are ziher.hr, snl.ba and pulse.rs. His main fields of interest as a film critic are society problems in general and philosophical/religious symbolism in movies.
Jakub Wanat, PolandFilm-lover, cinema-goer, festival-fanatic. Both cinema and writing are my biggest passions, so I decided to combine them, which basically means I killed two birds with one stone. It all started with MAGIEL, Poland's biggest students' magazine, where for almost two years I was the head of the film column. I was chosen as a Polish representative in the Venice Days jury at the 2017 Venice Film Festival. I'm also the LUX prize ambassador and a proud member of the Scope100 project. I had a chance to write for Cineuropa, naEkranie and regularly for my blog. I'm studying both e-business and film studies, also having some time to work at a Polish start-up.
Mikhail Morkin, RussiaMoscow-based film journalist. He is a chief editor and critic for Kinomania.ru. His work has appeared in The Hollywood Reporter Russia, RussoRosso and Film Sense. He also worked as programmer assistant at 2morrow Film Festival. Born in Moscow in 1991, he holds a specialist’s degree in Linguistics from MSPU and is currently studying for master’s degree in Transmedia Production from HSE.
Mina Stanikic, Serbia24 year old film and theatre critic based in Novi Sad, Serbia. Although finishing medicine studies, she took up career as a cultural journalist, starting in Kultur!Kokoška, a culture-dedicated web magazine, slowly becoming focused on film and theatre criticism. Her articles have been published in various cultural magazines, mostly in Serbian language. Mina is alumna of 11th Talents Sarajevo, where she took part in Talent Press program, writing and publishing in English. In film criticism, she has particular interest in debut films, and the following transition from short to feature filmmaking. Mina works as a PR for the Film Front, International short film festival in Novi Sad, Serbia.
Romanita Alexeev, MoldovaRomanița’s relationship with the film world isn’t limited to her fascination for it. It also extends to her fascination with other people’s fascination for it. She has started her journey in this industry by studying film production and acting at the University of Salford, United Kingdom. Later on, she returned to her home-country, Moldova, where, at the present moment, is directing and an online/tv series about Moldovan film industry.