‘Meteors’ Review: A Town Without Pity Takes its Toll on Friendship in a Listless French Melodrama

by

The term for a scarcely inhabited area of France, stretching from the borders of Belgium and Luxembourg in the northwest to the Pyrenees in the south, is known as the “empty diagonal” or “diagonale du vide”. This desolate region, symbolizing rural exodus and the decline of small towns, was the inspiration for French director Hubert Charuel’s 2011 short film titled “Meteors” (French: “Les étoiles filantes“) and now serves as the backdrop for his second feature film. Debuting in the Un Certain Regard section at Cannes, “Meteors” effectively captures the spirit of this empty diagonal, portraying the lives of characters struggling with little hope or prospects, and certainly no bright future.

In the throes of a boisterous boys’ night out at the bowling alley, I find myself introduced to Mika (Paul Kircher), Daniel (Idir Azougli), and Tony (Salif Cissé) – long-time buddies now in their mid-to-late twenties, who seem stuck in the slacker lifestyle they’ve carried over from their teenage years. What sets Tony apart is his pursuit of a small waste-disposal venture, making him the most ambitious among them. Unfortunately for the narrative, this means he’s largely absent throughout the film, leaving us to delve deeper into the complex and unhealthy bond between Mika and Daniel.

Mika is generally more level-headed and holds down a job at Burger King, trying to maintain a clean record so he can leave this place if given the chance. On the other hand, Daniel is always up to some reckless, impulsive, money-making ventures with questionable legality. One of his foolish ideas, like impulsively kidnapping a neighbor’s purebred Maine Coon cat, lands both him and unwilling accomplice Mika in trouble with the law. In the aftermath of this senseless incident, Daniel’s bizarre plan to relocate to Madagascar to care for stray dogs seems oddly normal compared to their antics, but lacks the quirky, Coen Brothers-esque flair it could have had. As events unfold, it is also revealed that Daniel’s alcoholism has advanced to a critical stage, threatening his liver. Despite Mika’s concerns for him, Daniel continues recklessly, and they both end up working with Tony, who has just secured a major job at the local nuclear waste facility. Needless to say, having an unstable, intoxicated, and inexperienced Daniel near radioactive debris doesn’t go well.

In this film, the storyline lacks a compelling drive or distinctive setting, making it appear quite gloomy. The chemistry between the characters is crucial, but despite a skilled cast giving their all to their roles, the script lacks depth regarding their interconnected pasts, which no acting finesse can fully fill. This is particularly noticeable in the character of Daniel, who should be the film’s tragic hero – a carefree jester whose reckless lifestyle has evolved into life-threatening addiction. Unfortunately, the script doesn’t portray Daniel as captivating or charming enough to make others want to shield their self-destructive friends. Furthermore, it’s unclear why Mika remains so devoted to saving Daniel and persistently determined, as Daniel seems indifferent about his own salvation.

In simpler terms, the film “Meteors” seems to be using its title symbolically to represent lives that spark but quickly fade, however, the movie itself focuses more on the disintegration aspect and less on the brightness or burn. The overall tone is disenchanted, with comments like the garbage men delivering instead of collecting feeling overused and lackluster. Despite this, the film’s message about marginalized youth is admirable and sincere. However, the movie fails to fully capture a sense of poignancy, leaving it to fall short of its intended emotional impact. In essence, while Charel’s intentions behind this story are noble, “Meteors” falls flat in its attempt to evoke strong emotions, and instead, leads us to Saint-Dizier.

Read More

2025-06-09 02:46