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More than a refugee drama

Gold Palm winner Dheepan is a complex and bold film with a disturbing climax, which has divided the audience into at least two camps.

Director: Jacques Audiard, photo: Éponine Momenceau

With his seventh feature film, Jacques Audiard finally won the Golden Palm at this year's Cannes Film Festival, after strong films such as The Prophet (who was awarded the "Second Prize" Jury Grand Prix and became his international breakthrough) and Rust and bones in the main competition at the same festival. Several commentators even believed that the French filmmaker was given the award because it was "his turn" and / or because it had a "right" theme, and pointed out – possibly rightly – that Dheepan is not Audiard's best movie.
But one can also see the decision as recognition of a brave film that wants to spark debate about more than just its current refugee theme. Consequently, I would think that the prize was well deserved, well worth noting without having seen all the films it competed for. Dheepan is, in my eyes, both molded, artful and in every way compelling, at least until the last act takes a genre turn many will have problems with.

Escape from Sri Lanka. But let's not start with the end. Far more natural is to say a few words about the film's short but effective projections, which take place in Sri Lanka. Here we are introduced to the main character Sivadhasan, who must hide his background as a guerrilla-fighting Tamil tiger to recover. . .

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