One of the strengths of the French film industry is that it produces films that would never be produced in Hollywood- films that pass little judgement on the choices of it’s characters, even when we receive an intimate glance into their motivations.
“Going Away” is no different. From veteran actress Nicole Garcia, now in the position of writer/director, this film is a patient, smooth and delicately wrought combination of family tension and personal development.
Baptiste (Pierre Rochefort) is a primary school substitute teacher, one who despite clearly loving his job, and being offered permanent positions, prefers to keep his attachments and relationships short term. Despite this, when his student Mathias (Mathias Brezot), is left stranded for the long weekend when his separated parents fail to make plans for him, Baptiste takes him in.
The next day, Mathias insists that they travel to visit his mother- surprising her at the beachfront restaurant where she works. Delighted to see him, Sandra (Louise Bourgoin) makes time in her hectic work schedule to spend time with her son, and with Baptiste. When the two quickly form a connection, Sandra and Baptiste head out. The latter drinks alcohol at Sandra’s insistence, quickly developing quickly into a rage, engaging in a brawl that hints as to the reasons behind his unwillingness to establish more permanent roots.
It transpires that Sandra is no stranger to violence either- in efforts to provide for Mathias’, her poor instincts with money and several bad business ventures have left her heavily in debt and at the mercy of those sent to collect her due. Baptiste, observing Sandra with Mathias and already forming an attachment to the pair, quickly takes responsibility for the debt. It emerges that Baptiste has been long estranged from his extremely wealthy family, and their interactions over the course of the movie reveal more about why his coloured affects him so much in his present life.
Under Garcia’s excellent direction, and clear understanding of how a film should intrigue it’s audience, “Going Away” entrances softly, without fanfare or dramatic devices. The characterization of Baptiste’s extended family and brilliant casting develops a rich shared history for the figures in the film, providing a depth of knowledge not ordinarily produced in such a short amount of time. Garcia and co-scenarist Jacques Fieschi manage to create a sense of intimacy without explicit detail, using the interactions (even brief one) between the families in this film to form a larger understanding of their relationships.
The loose narrative is one of the few detriments of this film, whose resolution was unnecessarily ambiguous. Despite it’s impressionistic style, the final scenes were unfulfilling in many ways, underwhelming the building romance of Sandra and Baptiste, and failing to draw on the deep undercurrents of tension between Baptiste and his family.
Despite these few small shortcomings, the majority of the film is wonderfully crafted, and drenched with languid shots of beaches and an expansive countryside. The naturalistic light matches the seemingly ordinary story of family, old ties and new love with a unique take on the consequences of running from the past.
The unhurried and sensitive narrative will perfectly suit art-house audiences- reservedly romantic and quietly patient, with enough allure and intelligence to win over the soft heart in anyone.
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