As a seasoned cinephile with a penchant for films that delve into societal complexities and cultural nuances, “Meet the Barbarians” has left me both entertained and introspective. Having traveled extensively across Europe and the Middle East, I’ve witnessed firsthand the stark differences between Western hypocrisies and Eastern realities.
In Julie Delpy‘s culture-clash comedy “Meet the Barbarians,” she exposes several Western hypocrisies. The story unfolds in the struggling French commune of Paimpont, where residents vote to take in a few Ukrainian refugees. However, they are taken aback when a Syrian family arrives instead. The town’s reactions range from awkward to hostile, which Delpy vividly portrays by using a documentary-like style to film the town and its Arab guests. This results in a movie that, while it doesn’t quite reach the dramatic peaks it aims for, is incredibly humorous.
The movie starts off at a lively pace, similar to “The Office,” with the bumbling mayor Sébastien Lejeune (Jean-Charles Clichet) announcing his plans to take in a Ukrainian family to a television news crew. The city council votes almost unanimously for this decision. Even Hervé Riou (Laurent Lafitte), the grumpy town plumber, eventually agrees after a gentle push from his colleagues. Various local interviews suggest that welcoming Ukrainians and opposing Russia’s invasion is a widely accepted stance, despite any apprehensions or financial concerns some residents might have. However, these concerns resurface when the town discovers an administrative mix-up.
The footage from “Meet the Barbarians” captured by TV cameras stands out due to news tickers and a smaller screen size. Yet, its non-documentary scenes, too, employ a similar visual style, resembling Michael Winterbottom’s “The Trip” series where actors still act, even during non-interview moments. For example, Lejeune is worried about the public perception of accepting refugees and strives to create a welcoming atmosphere for political gain. Upon learning that Ukrainians are being welcomed in large numbers across Europe, he appears disappointed that Paimpont won’t receive any of these valuable refugees. Similarly, Deply’s character, Joëlle, the progressive teacher, coordinates the refugees’ arrival but also has awkward moments of apparent acceptance.
The family we previously mentioned, the Fayads from Syria, are generally ordinary but this is significant according to Deply’s perspective. Marwan (Ziad Bakri), a skilled architect, his wife Louna (Dalia Naous), a graphic designer, her grumpy father Hassan (Farès Helou), their children Dina and Waël, and Alma (Rita Hayek), their doctor aunt – all have been so drained by their experiences in refugee camps where they acquired French, that they are too preoccupied with their own struggles to concern themselves with the opinions of the residents of Paimpont. Despite this, they strive to establish connections within the community and settle down, which involves taking on various temporary jobs since their qualifications aren’t recognized in France or were lost, along with their home in Damascus.
The film “Meet the Barbarians” provides glimpses into the Fayads’ personal lives and their feelings, but it primarily uses them as a political tool to make a broader point. This argument is powerful and thought-provoking, dividing the characters into two main groups that reflect significant aspects of contemporary Western discussions on refugees. On one side, we have Joëlle and her friend Anne (played by Sandrine Kiberlain), who harbor well-meaning liberal views but are still tainted with orientalist perspectives. On the other side, there’s Hervé and Philippe, Anne’s convenience store owner husband (Mathieu Demy), whose attitudes towards Muslims and Arabs are generally suspicious and hostile.
The film’s strongest point lies in portraying what initially seem like contrasting characters as two faces of the same coin, revealing that their behaviors stem from the same source of prejudice and misunderstanding, albeit in different ways. While other contemporary films have tackled the grim realities of refugee life, such as Ken Loach’s “The Old Oak” and Agnieszka Holland’s “Green Border,” “Meet the Barbarians” stands out by delving deeper into the subject matter as a comedy, allowing for a more detailed exploration.
Despite facing challenges such as needing to validate their traumas, the Fayads’ tale is no longer about survival. This shift enables the film to focus on the intricate details and bureaucratic hurdles of their journey, along with the minor frictions that emerge when an outsider is introduced into a close-knit community. The narrative maintains an uplifting, cheerful tone amidst its more somber aspects. Yet, Delpy never forgets the broader context, subtly reminding us that life remains tough for Muslim refugees beyond this amusing tale.
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2024-09-16 10:17