Back to Burgundy (Ce qui nous lie)


Juliette (Ana Girardot) is out standing in her field.

(2017) Drama (Music Box) Pio Marmaï, Ana Girardot, François Civil, Jean-Marc Roulot, Maria Valverde, Yamée Couture, Jean-Marie Winling, Florence Pernel, Éric Caravaca, Tewfik Jallab, Karidja Touré, Bruno Rafaelli, Eric Bougnon, Marina Tomé, Hervé Mahieux, Didier Dubuisson, Jean-Michel Lesoeur, Fanny Capretta, Charléne Ferès, Julie Leflaive. Directed by Cédric Klapisch

The movies have long had a love affair not just with wine but with winemaking and it’s hard not to understand why. The lifestyle is so enticing, so slow-paced and quiet that it makes a nearly pure opposite of the hectic, chaotic and often stressful life of filmmaking. Wineries are portrayed as serene and pastoral where seasons come and go with regularity and where patience and time are the keys to a really good Chablis.

Of course, when you think “wine” France must come near the top if not the top of the list. The winemaking regions of France each have their own charm; Burgundy among them. Jean (Marmaï) is from that noted region but left his home to travel the world, bored and dissatisfied with his life which his father (Bougnon) has chosen for him. Jean has since married, had a son and started a winery in Australia. However, he is called back to France when his father falls gravely ill.

There Jean greets his two siblings; Juliette (Girardot) who has been running the winery in her father’s absence, and Jerèmie (Civil) who has married into one of the region’s wealthiest families and whose overbearing father-in-law (Winling) is not at all sure that his son-in-law has what it takes to run his operation. The reunion is a bit guarded; each of the siblings have their own baggage and there is some guilt and resentment bubbling just below the surface.

When their father dies, the three children inherit the land and they must come to a decision; whether to sell the land to the father-in-law for a handsome profit, or continue to keep it in the family where it has been for generations. Juliette has been an indecisive leader who has terrific ideas but lacks the self-confidence to implement them in the face of male disrespect and scorn. Jerèmie must weather the invasive presence of his in-laws and assert himself as a man while Jean is torn between two continents. It is a hard thing to weigh an uncertain future against a certainty of financial gain.

Klapisch has a knack for finding life’s little absurdities in the midst of a more sprawling story. In most of his other films, he intertwines several stories into a cohesive whole; he doesn’t do that so much here but that doesn’t mean that he is above giving the mundane an almost epic scope. He utilizes the beautiful vistas of Burgundy in various seasons, juxtaposing the same scene in winter and summer for maximum effect. He also intertwines the childhood selves of the siblings with their adult selves, occasionally having them interact with one another. Klapisch is marvelously inventive in this way without coming off as “Look, Ma, I’m Directing!”

The story occasionally descends into soapiness, but the characters are interesting enough and the performances strong enough to keep the film from getting maudlin. Marmaï has some definite screen appeal and though he hasn’t got a lot of movies on his resume he certainly shows enormous potential. Girardot and Civil also deliver some strong performances but Marmaï is the one you’ll remember.

The movie has a strong sentimental streak and is heartwarming throughout. Cubicle cowboys in the readership may opt to chuck their office existence and go find a French winery to settle down in after seeing this but then again, it isn’t hard to sell a rustic lifestyle to those who lead stressful lives. This was definitely one of the highlights at this year’s Florida Film Festival and for those who missed it, I recommend very strongly to keep an eye out for it on VOD. You’ll be glad you did.

REASONS TO GO: Klapisch always seems to find life’s little absurdities. The cinematography is breathtaking. Marmaï is a charming lead.
REASONS TO STAY: The film mines some “Lifetime Movie of the Week” territory.
FAMILY VALUES: There is a little bit of profanity as well as some sexual situations.
TRIVIAL PURSUIT: Klapisch makes a cameo appearance as one of the volunteer farm workers near the end of the film receiving instructions on how to harvest the grapes.
CRITICAL MASS: As of 5/18/18: Rotten Tomatoes: 71% positive reviews: Metacritic: 58/100.
COMPARISON SHOPPING: A Good Year
FINAL RATING: 8/10
NEXT:
The Most Unknown

My Life in China


Father knows best.

Father knows best.

(2014) Documentary (Killer Bunny) Yau King Eng, Kenneth Eng. Directed by Kenneth Eng

Florida Film Festival 2015

Everyone comes from somewhere and nowhere is that more true than the United States. Even the Native Americans migrated over the land bridge from Asia to get here. All of us have a history that begins somewhere else.

Yau King Eng’s story began in China where he grew up under a repressive communist regime. In 1966, he made the decision to leave his impoverished village, his beloved family and everything familiar in his life to make a new and better life for himself in America. The journey was a dangerous one, involving a swim from the mainland to Macau and avoiding Chinese soldiers who weren’t above killing anyone who had the gall to want to leave.

But leave he did and to Boston he did go. At first, finding work was difficult but like many Chinese immigrants he found work in Chinese restaurants, washing dishes and sweeping floors. He worked two and sometimes more jobs, trying to make a better life for his family, eventually saving up enough to buy  a restaurant of his own.

Unfortunately, the American dream didn’t work out the way he thought it would. The restaurant business is a capricious one and a difficult one to find success in. He didn’t find that success, and the restaurant went bankrupt. To this day he continues to work for others in the restaurant business, but deep down he considers himself a failure because his restaurant didn’t make it.

In the meantime, China has prospered and the economic situation there is in many ways better than it is here. Yau decided that he would live the rest of his life out in the land where he was born, but first he would pay it a visit to make sure that this decision was a sound one. His visit back home, to the places that mattered to him, would be chronicled by his son Kenneth, a documentary filmmaker. The two of them together would experience modern China – Kenneth through fresh eyes, his father through the eyes of 1966. Their varying perspectives don’t really constitute the subject here; rather, it is more a journey of discovery for Kenneth as the tales of his father’s struggles in his homeland come to life and he develops a new perspective – and a new respect – for his dad.

Some of the film is quite heartwarming as we witness father and son develop new and stronger bonds between them. Some of the film is a bit harrowing as we are treated to the story of Yau King Eng’s defection and the courage and perseverance it took for him to make the journey. Much of the film, however, is a bit like watching home movies as we see relatives and friends gather, some of whom have found success and even wealth at home, another dagger in the heart of the prodigal son who left. The old men, smoking in kitchens while the women prepare feasts of welcoming, the elders reminiscing about times gone by. In short, very much what happens in YOUR living room when an out-of-town relative visits.

The home movie feel I think is deliberate as Eng not only makes his father’s story an individual one, but connects his family’s story with our own. Yes, ostensibly Eng is trying to tell a singular story but what makes this film successful is that he is able to relate much of it to our own situations, our own families, our own lives.

This isn’t the kind of movie that trumpets thunderous anthems from mountaintops (although the music in the film is quite beautiful), but rather quietly works its way into our hearts and finds the common ground that binds us all. Every family has stories; watching this movie prompting me to ask my mom about hers. Yes, I’m a child of immigrants as well so the movie hit home a lot closer than it might those who are farther removed from their own family’s immigrant experience. Even so, it is the stories of our mothers and fathers that are part of our own stories; understanding those stories help us understand who we are and where we’re from. For that alone, this is must-see viewing. While the movie is just starting to show up on the festival circuit, hopefully it’ll soon play at a film festival near you, or eventually make it onto a broadcast medium. I sure hope so; I’d love to see this movie again.

REASONS TO GO: Nicely illustrates the dichotomy of culture in China. Tells a moving and compelling story. Heartwarming.
REASONS TO STAY: Has a bit of a home movie feel to it, although I think that’s appropriate.
FAMILY VALUES: Suitable for all members of the family.
TRIVIAL PURSUIT: Eng’s last feature-length film, Kokoyaku: High School Baseball received an airing on PBS’ POV series.
CRITICAL MASS: As of 5/17/15: Rotten Tomatoes: no score yet. Metacritic: no score yet.
COMPARISON SHOPPING: Romantico
FINAL RATING: 8.5/10
NEXT: Infini