SummaryDheepan is a Tamil freedom fighter, a Tiger. In Sri Lanka, the Civil War is reaching its end, and defeat is near. Dheepan decides to flee, taking with him two strangers – a woman and a little girl – hoping that they will make it easier for him to claim asylum in Europe. Arriving in Paris, the ‘family’ moves from one temporary home to ano...
SummaryDheepan is a Tamil freedom fighter, a Tiger. In Sri Lanka, the Civil War is reaching its end, and defeat is near. Dheepan decides to flee, taking with him two strangers – a woman and a little girl – hoping that they will make it easier for him to claim asylum in Europe. Arriving in Paris, the ‘family’ moves from one temporary home to ano...
Jacques Audiard’s superb drama, which won the top prize at last year’s Cannes Film Festival, rises to the challenge with the power of art and not a scintilla of sentimentality.
Far from the home, but the trouble's not over.
The renowned French filmmaker, Jacques Audiard back with this new sensational film. This time he has chosen to tell us the story of a Sri Lankan Tamil Eelam freedom fighter who had fled to France after the war, followed by his struggles in the new place. The entire film was in Tamil language, but there some French dialogues too. I have been waiting for this, even after I got many opportunities, I had postponed them for some reasons. Finally, I'm very happy for not just got over it, but for the film that has powerful contents to give a peek into the immigrant's lifestyle, I mean not in a pleasant way.
Right now it is a huge issue around the world to curb the immigration, especially the illegal ones. But some reasons are really heartbreaking, like in the film 'The Good Lie'. Usually the people like in this story are not welcomed, so they have to lay low and swallow all the troubles they bump into. Sometime the events reflect what happened back in the homeland. In a such way this tale takes place where a civil war fighter, Dheepan, from Lanka lands in France with his fake family of a wife and a daughter named Yalini and Ilayaal respectively.
In order to forget the past, he tries his best to start over a new life. Since he did not come wealth, he had to adapt whatever life offered to survive and to protect his family. Knowing living on the edge of the fire, they were left alone, but how long, because the fire flame always catches the vulnerable objects around it. So what comes later is the finale with a twist and to follow the end credits.
I have seen many films about what this film was focused on, but this was somewhat different, mainly because of people from the culture of less known geographical area. I can understand Tamil, but I found hard to get this Sri Lankan Tamil lines. There were films about Sri Lankan refugees, those films like 'Nandha', 'Kannathil Muthamittal' are different kinds. Maybe this is the first western film to dig on Lankan Eelam topic, especially after the end of civil war and far away from the home. Though it does not take a side, except opening scene, the rest of the film is set in France.
"Sometimes, they say things and laugh. I understand all the word, but they don't sound funny"
They have got a simple storyline, but developed to its best. The progression becomes stronger, particularly when it reaches the final stage. I think the filmmakers did a good research, especially the cultural differences to highlight. That's the most of the film concentrated to only on the one perspective, but the threats what people like them face was also brought into the narration. Like caught between the two worlds and culture, and to defend themselves, to do what has to be done.
Very realistic approach, but the question is do the things like this happen in real, especially in France? If you like Jacques Audiard films, then you should not miss it at all. These main actors are kind of new in front of the camera and they were amazing. Technically as well the film sounds good, but as I had heard, the filmmakers were hurried to finish it off when the Cannes Film Festival was around the corner. I think they have managed everything properly, and you would too appreciate the effort once you watch it.
It went to numerous film festivals and won some awards that includes Palme d'Or at Cannes. Kind of must see by the director's fans, even if you are not a fan, it is still worth a watch. Because you won't get another this or seen before. Even if you did, the cast wasn't the familiar one. That's the big difference here. The film has a message like, what one must be doing in his second chance of life. There are violences, feels strong, though the effects are raw, not the events or the scenes. Definitely not a masterpiece, but still I would recommend it for the adults.
8/10
What starts out as an intriguing look at the modern-day immigrant experience gradually deteriorates into a meandering muddle that tries to redeem itself with a 21st Century rendition of "Taxi Driver." Despite solid performances and beautiful cinematography, this film, like much of Jacques Audiard's work, never quite seems to find its footing, which is unfortunate, considering the potential with which it began.
For a while, it’s quietly meditative and riveting – worthy of the Palme d’Or it captured last spring in Cannes. But in the film’s final 10 minutes, Audiard lets his bombastic sensibilities loose, creating an over-the-top revenge tale that’s bewildering.
Jacques Audiard’s misbegotten Palme D’Or winner Dheepan aspires to be a "Taxi Driver" for today’s Europe, but ends up as a crude cross between "Death Wish" and Ken Loach.
Just fine OK film but too boring & slow.
Really overrated by the critics & from the fact that even won the Palm D'Or in Cannes Film Festival.
I wouldn't even state that ''Dheepan'' is from the best films/movies of the year 2015.
I wasn't really impressed/moved by it.
A Story of three people, victims of war torn Sri-Lanka, adopting each other in order to escape to France only to find themselves in the midst of another kind of war. This richly detailed movie is both culturally and socially interesting, but far too slow to be anything more than moderately entertaining. The climatic orgy of violence (shades of Taxi Driver, anyone?) feels like the film’s raison d’etre and is signposted as coming very early on in the story’s proceedings. The subsequent coda also seems very pat and conventional for a film which is, at its core, presenting a world which is anything but.
Production Company
Why Not Productions,
Page 114,
France 2 Cinéma,
Canal+,
Ciné+,
France Télévisions,
La Région Île-de-France,
Cinémage 9,
A Plus Image 5,
Palatine Étoile 12,
Indéfilms 3,
La Banque Postale Image 8,
Cofinova 11,
SofiTVciné 2,
Soficinéma 11