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Better Late Then Never

It's fun, it's light, [but] it has a hard time when its tries to get heavy.

One of the most extraordinary films you will see this year. Take that as you want.

It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

Dheepan (2015) A fake family, Forced together to survive, Able to become, A real family with love. From the blood and death Found in Sri Lanka, To hope found in France, But in between is much pain. Language barriers, Abuse, gangsters, violence, Even from back home, Emissaries sent to them. Trying to forget, Struggling with PTSD, Working hard daily, Striving to overcome hate, But with so many Life threatening obstacles. Three captivating And extremely insightful Character studies, Father, Mother, and Daughter. Fake identities, Forced to live with two strangers. Although similar, Each has their unique struggle With acclimation. Struggling with PTSD, Tempting London friend, Being accepted at school. Audiard gives us Portrait of resilience With a charming cast, But you have to overlook Excessive blood, death, Suffering and violence, Political views, Loss of character focus, Easy ending like a bow. Choka (long poem) was an epic storytelling form of poetry from the 1st to the 13th century, known as the Waka period. The choka is an unrhymed poem with the 5-7-5-7-5-7-5-7...7 syllable format (any odd number line length with alternating five and seven syllable lines that ends with an extra seven syllable line). #Choka #PoemReview

I will try to make a brief analysis on storytelling, since it is the story and the storytelling that make this movie beautiful, probably brought the golden palm.That a film which shows the very low lives in France, has received the attention, that is also worth note-taking. The story is smoothly developed without too much exaggerations. Three people join each other to make a good picture for a proper refugee application, and through time they regain their confidence and become a real family, showing the other wreaks in the modern cities. It genuinely touches our today's world issues. It well documents for the future generations to explain our time. While in some places over the world like Sri Lanka, Ruanda, Syrian Kurdish regions mass killings take place, in the western urbans we have gangs and other crimes to worry. Dheepan is not depicting freaky situations like sexual harassment, very rich lives contrasted with the very poor life of the protagonist ( A cliché in a luxury restaurant would have been disturbing in the movie) . Also, usually in that kind of lives you could see many sexual, material and power abuses. But the movie do not touch these kind of elements, which help you focus on other elements in the movie. Probably much people after the movie will feel the life of the "family" very decent and proud and appreciate the efforts of receiving countries.

I was taken aback by the effectiveness of this film. It surely feels like a slow ride to really climactic and explosive moments, but make no mistake they are not handled like the way Hollywood usually handles them. The film makes sure to very carefully and deliberately set up all of its potential conflicts and develop its characters nicely. Both Dheepan and Yalini are played wonderfully by Jesuthasan Antonythasan and Kalieaswari Srinivasan. They have to make sure to portray their characters and show their obvious flaws while never losing the humanity within them, and they do that to great success. overall, this is highly recommended and would be deserving of an Oscar nomination for Best Foreign-Language Film.

The 26-year civil war in Sri Lanka (1983-2009), a conflict between the mainly Buddhist Sinhalese majority and the Hindu Tamil minority in which 200,000 people were killed, including tens of thousands of Tamil civilians forms the backdrop for French director Jacques Audiard's searing refugee drama Dheepan. Winner of the Palme d'Or at the 2015 Cannes Film Festival, it is the story of three Tamil immigrants from Sri Lanka newly settled in Paris, their adjustment to an often unwelcoming environment, and the bond they form based on mutual need and acceptance of the others pain.Like Audiard's previous film, Rust and Bone, it is raw and visceral, yet also a film of lyricism and sensitivity. Though the film seems to draw a parallel between the war in Sri Lanka and social unrest in France, it is a fictional film and, according to Audiard, is not intended to mirror the actual conditions of refugees in France which he believes has been mostly welcoming. Written by Thomas Bidegain and Noé Debré and photographed by Eponine Momenceau, the film opens in Sri Lanka as the Tamil fighter Dheepan (Antonythasan Jesuthasan, a novelist and a former Tamil Tiger himself), whose cause faces defeat, lays palm leaves across the corpses on a funeral pyre before burning his own military fatigues.The scene shifts to Yalini (Kalieaswari Srinivasan), a young woman attempting to ensure her passage out of the country by finding a young girl to pose as her daughter, She finds Illayaal (Claudine Vinasithamby), a girl who can pass for nine, and takes her to where Dheepan (an assumed name) is being given the passports of three dead people. Assuming new identities, the three pretend to be a family escaping persecution in Sri Lanka and are relocated to France where they are employed as caretakers of a housing project in the Paris suburbs. It is a locale reminiscent of the projects in Mathieu Kassovitz', La Haine, where drug dealing and urban decay are pervasive.Their guide Youssouf (Marc Zinga) gives them a tour but the instructions, in a language they do not understand, do not register. Youssouf skirts around the problem of the drug dealers who congregate in another block across the courtyard, only telling him to wait until they leave before beginning to clean. As Illayal goes to school to learn French and Yalini is assigned to cook and clean for an elderly man whose nephew Brahim (Vincent Rottiers) is one of the local gang leaders, the film traces the gradual assimilation of the family, their overriding desire for connection, not only to the language and customs, but to each other. Though the film is restrained with moments of tenderness and humor as well as anger and frustration, underneath there is a growing tension.Violence erupts when Dheepan, who suffers from PTSD, draws a white line across the courtyard that they are not to cross and it has a jarring effect though, to me, not out of sync with the film's setup and exploration of its characters. Though Audiard claims that Dheepan is not intended to be political, given the real-life nature of the circumstances, it cannot help but be just that. He said that he wanted "to give the faceless a name, a face, a shape," a story of their own and he has succeeded. In making a human document, he reminds us of the connection we have with people around the world whose voices we cannot hear, whose faces we cannot see, and whose hands we may never touch.