As a seasoned cinephile with roots firmly planted in the heart of America’s rust belt, I found myself drawn to “And Their Children After Them,” a film that echoes the struggles and dreams of a generation left behind by industry. However, this French adaptation, helmed by the Boukherma twins, while boasting some technical flair, falls short in capturing the raw, visceral essence of the source material.
2018 novel “And Their Children After Them” by French author Nicolas Mathieu won the prestigious Prix Goncourt, France’s most prominent literary award. This powerful working-class coming-of-age story takes place against a grim backdrop of industrial decay and was inspired by diverse sources like John Steinbeck, Émile Zola, Bruce Springsteen, and the movie “Mud” directed by Jeff Nichols in 2012. The Springsteen reference is evidently reflected in this film adaptation through a heavy-handed use of one of his songs as the main character rides his bike with determination. However, Mathieu’s literary references, such as Steinbeck and Zola, fail to resonate in the lengthy, emotionally intense but oddly unengaging film directed by Ludovic and Zoran Boukherma. Instead, the narrative relies on soap opera-like plot devices as it chronicles the lives of three young individuals who are impacted over a span of six years due to one reckless act of teenage rebellion.
The Boukherma twins displayed an innovative blend of genres in their first three films, particularly “Teddy,” a modern twist on a werewolf comedy led by the talented Anthony Bajon, which made it into Cannes Film Festival’s canceled 2020 lineup. Their latest film, “And Their Children After Them” or “Leurs enfants après eux” (the original French title without the initial conjunction), seems like their attempt to gain mainstream recognition. It could potentially be a success in their home country, although it may not fare as well elsewhere due to Mathieu’s novel having limited cultural significance. The Venice Film Festival has helped boost the Boukhermas’ status as filmmakers by including their latest work in competition, although the movie doesn’t quite live up to that standard.
The movie shares a striking similarity with Gilles Lellouche’s “Beating Hearts,” which was recently premiered at Cannes, in terms of its style, theme, and overall structure. Both are large-scale, commercially oriented youth dramas that seem misplaced in a major festival competition, though this one appears slightly rougher around the edges. Like the previous film, the backdrop is an anonymous industrial town in eastern France, where prosperous businesses have been replaced by widespread unemployment, and rusting factory remnants dominate the flat terrain.
During the summer of 1992, confident and charming teenager Anthony (played by Paul Kircher) anticipates his troubles will soon be over: Until then, he spends his days partying, flirting, and trying to avoid the wrath of his rough, alcoholic father Patrick (portrayed somewhat excessively by Lellouche). He represents someone Anthony doesn’t want to become. On a beautiful sunny day at the local lake, he encounters Steph (Angélina Woreth), an older, middle-class girl whose academic aspirations contrast with Anthony’s looser plans for freedom. When she invites him to a party far from home, he’s more than eager – even borrowing Patrick’s prized motorcycle without asking, boosting his cool factor.
In the heat of a clash at the party with Hacine (Sayyid El Alami), a fellow troublemaker from an immigrant Moroccan family who’s been through similar struggles, my bravado took a hit. To get back at me for that altercation, he snatched the bike that had already been stolen – causing anxiety for me and my exhausted mom, Hélène (Ludivine Sagnier), to retrieve it before Patrick even noticed it was gone. The ensuing family feud, resulting in a loss of face for Hacine, only escalated things: The bike was returned, now a charred remains, while Hacine was banished back to his homeland as punishment.
The story doesn’t end with summer, though. Instead, “And Their Children After Them” delves deeper into the consequences of these events over three more summers, each occurring two years apart, all taking place in the same gloomy town filled with damaged lives. By 1994, Anthony is still residing at home, his enthusiasm gradually fading in low-paying jobs, and the military being the only alternative that calls to him. Steph discovers that college isn’t as great as everyone says. Hacine comes back to France with drug money and a thirst for vengeance that will be repeatedly exchanged throughout the movie’s lengthy 144-minute duration.
In the Boukhermas’ film adaptation of the novel, much of the social and economic commentary, as well as class conflict, has been removed, making the characters and their issues seem insubstantial for a movie that aims to be a contemporary urban epic. The actors portraying Anthony, Steph, and Hacine are very talented, but they appear more like appealing demographic figures than fully developed characters with intense emotions and tumultuous hormones. The script seems hesitant in exploring the obvious racial tensions between the two young men, while a subplot involving Hacine’s descent into the underworld lacks a satisfying resolution. The romance between Anthony and Steph is portrayed as a dramatic, star-crossed love story, but we don’t feel convinced that their relationship has much depth. For all three characters, it seems their future may hold more challenges for growth and development.
In areas where the writing falls flat, the movie makes up for it with boastful, dynamic flair, as demonstrated by Augustin Barbaroux’s cinematography that is richly saturated with damp tones and fluid motion. During a Bastille Day scene, the film takes a pause to appreciate an extended firework display, almost seeming to admire its own brilliance. The production design, costume choices, and attention to detail are spot-on for the period, especially commendable is the hairstyling team’s treatment of Kircher’s hair, reminiscent of a time-traveled boyband. However, some scenes suffer due to the directors’ excessive use of ’90s rock anthems by bands like Metallica, Red Hot Chili Peppers, Aerosmith, which can be overbearing at times. The climax, or perhaps low point, comes when a children’s choir rendition of the Pixies’ “Where Is My Mind” accompanies one character’s escalating distress: While the ’90s were an era of irony, this film appears to be playing things with deadly seriousness, which becomes overly somber.
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2024-08-31 17:17