Denis Villeneuve confirms the maturity of the “Polytechnic” with “Incendies“, a work rich and universal conflicts that ravage humans. A film open to the world that addresses the greatest possible number.
At the death of their mother (Lubna Azabel), twins Jeanne (Melissa Desormeaux-Poulin) and Simon (Maxim Gaudette) receive a will that leaves them stunned: they must find their father presumed dead, and their brother whom they knew nothing of its existence. To do this they must go through a Middle East, enabling them to learn more about their origins and true nature of the person who gave birth.
Popular playwright Wajdi Mouawad, “Incendies” is transposed to the cinema with care and precision by Denis Villeneuve. After his pathetic “Polytechnic”, the director of “Maelstrom” continues to explore themes that are dear to him, including that of memory and the strength of the feminine gender. His scenario, the metaphors in the foreground, is in the evocation, turning almost Greek myth of the horrors of war.
This is not strictly a conflict that seems to interest the filmmaker. The region is practically not mentioned (though this is Lebanon, though the book was filmed in Jordan), or reasons in place (it comes to religions and refugees, but only implicitly). The treatment is intended rather universal, returning children home. The mother wants so much human and geographical, and it is essential to know its history to evolve as human beings and countries.
The actors are supported by their misunderstandings that tear. The first part is mainly that of Lubna Azabel, after his incredible performance in “24 Measures” and “Melissa Desormeaux-Poulin” which proves his great talent (especially since it was rather difficult to see in both “On your mark! Party! “). His playing visceral and rational can take immediate action to his fate and see this unknown region through his eyes. A little too removed, Maxim Gaudette be argued later, using a very dark humor to keep the drama take center stage. In this chapter Rémy Girard plays a notary who is there to ease the way, which is sometimes good.
Like the play, the film is not without length. Especially since the narrative, rich in diverse ideas, abusing ellipses. It would not matter if the final revelation did not hold precisely this time that passes between yesterday and today. Although difficult to predict, the twist does not always take the road because it seems to be missing some crucial information to be certain of the logic of revelation.
Boasting a superb cinematography by Andre Turpin, a strong thematic interpretation and powerful, “Incendies” proves that Denis Villeneuve control increasingly his writings, offering more than just glossy pictures as it was the case of “Un 32 août sur terre.” From the first seconds, a rich and emotive piece of Radiohead sounds, and melodies of this cult group will act as a leitmotif for the story with its great waves which will reveal dark secrets buried many. Painful but necessary.