Dheepan : A Film Review

Director Jacques Audiard, Dheepan (Antonythasan Jesuthasan) Yalini (Kalieaswari Srinivasan) Illayaal (Claudine Vinasithamby) Brahim (Vincent Rottiers) Languages, Tamil, French, English. Cert. 15. France. Duration. 1hr 55mins.

Liberté, Fraternité, Egalité or Persiflage, Anarchy, Brutality.                                                                                                     Former Sri Lankan Civil War fighter Sivadhasan (Jesuthasan Antonythasan) has little chance of survival staying with Government forces seeking out those rebels who try to merge back into the ordinary lives they left behind.  She realises the only option is to flee and become one of the worlds refugees and seek asylum somewhere abroad.


 In order to make this possible and plausible he must adopt a false identity and with it adopt a woman and child to form three to seek asylum abroad.  The woman has made her own steps towards adopting a new identity and has in tow her would be daughter making the trio a unit matching false identity papers provided in the state the all wish to leave.  It is a then a bargain is struck between them to accomplish their escape.

In keeping with the style adopted with the 2010 film of Jacques Audiard’s “A Prophet” we are given a story which we see and cannot fathom or say too much about because we, few of us will have encountered such circumstances. All we see is to him real is my way of looking at it.  This is only a fictionalising version of the truth.  We have to see violence.  We have to see utter despair.  We have to see uncontrolled resignation.  This is our current world.

We have been to stranger places.                                                                                                                                                                              It is not about the detention camps, those daily pictures of refugees crossing continents to reach barbed wire and hopelessly caught between two states of mind.  The one per-cent versus the remainder.  All consciousness is set aside.  This instead is about a detention of another kind.  The stasis of being not in your own place unable to make your own choices and at the mercy of an alien culture if indeed it could be disposed to call itself one.

Dheepan is a film about him leaving one quagmire and finding yourself in another. All three get to what they think is a relatively safe place but it turns out to be a compound of criminality.  Society, be it Belguim, France, Germany is in crisis as far as immigration and welfare of immigrants and refugees is concerned.  There is in each; and unlike the United Kingdom which has fashioned slowly but surely a much steadier and fruitful diversity and racial assimilation making it one of the underlying reasons for its popularity in obtaining leave to remain, very great divisiveness.  Even in ares where tourists go in on of those countries white people are told to go back home.  The divisiveness is racist and poverty related.  In Dheepan in its resolution or final closure there is an element which will show this which is probably the reason it is included and which some reviewers mistakenly pronounce as an implausible ending.  I disagree entirely as it is part of the whole vision of he director whose job it is to highlight the complete picture as HE sees it.

Nothing can be revealed, see with your own eyes.                                                                                                                                                I cannot describe how the narrative carries forward for fear of disclosing key points.  However one virtual evidentiary moment is itself indicative.  It is a moment one of the characters observes ‘It is just like the movies’.  Very true and the real world seen through their eyes appears fantasy yet real at the same time.  It is profoundly so. The vicious world of neglected parts of society, of marginalised people is so evident so raw and their integral world as of now is shocking and appealing.  The crisis is among us and the European model is broken through the disparity and this is partularly clear economically that a cascading destruction of people worldwide is happening through the inflicted poverty and the nihilitic greed prevalent and produced in the UK and Germany with the countervailing Chinese rush to westernization at any cost and via. Panama.  The bedrock of one David Cameron’s own precocity. I believe Dads company Panmure never paid a penny in UK taxes. What can anyone possibly make of that except greed prevails.

The relationship between Dheepan and Yalini is hanging by a thread of common need.  It is in Dheepans mind something possibly to benefit them both.  Both have suffered horrendous losses revealed during the film.  They are both encountering a wholly different world.  In the middle and closest to normality by way of the extended help she receives in this foreign country as she is a mere child, is Illayaal.  She’s has a gift of restraint.  A gift of language and the detachment of a child whose understanding of the world is that is nothing less than a mess though the extremes reach to her also and she is rightfully often fearful.  She notices things the adults do not and the strains between her surrogate father and mother.


Death and division.                                                                                                                                                                                          This film is beautifully shot and is a vivid picture of the reality some face.  The sectionalisation is prominent in this location, it’s complete loss of prospect or aspect for the youth whose lives are corrupted by mass unemployment and little cohesion in the economy of the state.  Hence all the riots we often see.  The 1969 style protests.  The widening racial hatred and calling back to nascent fascism and the social project undertalen by Hitler. It is as bad as that.

The undercurrent in Europe is scary to say the least.  The future is becoming bankrupted as environmental and competing trading nations vie for resources and the sequestration of assets is rampant.  The Chinese particularly making inroads by buying up sections of foreign countries and those countries making a market in their sell off/out aided by corporate machines and banking with no accountability.  The current of the film is in the underworld such – and this is a poor extrapolation perhaps – the consolidation is taking place and being replaced by non governmental states.  States that are purely a commercial entity.  It is a deconolisation of sorts but bypasses the previous right to independence which has been fought and struggled for throughout Africa, throughout the Middle East and the wars are untenably destructive.

Conclusion #####5

This film is like a depth charging missile into the heart of our worlds concious future.  As it moves into terrain and territory hnone or few of us are directly familiar with it produces raw and visceral emotions. It speaks loudly and boldly.  It confronts through actual realised, depicted confrontations the savage core deeply damaging effects of oppression and the sporadic movement of people used to other societies.  Dheepan is very disturbed mentally and it the film on some flashbacks portray the warring ‘crusade’ lost and he is fleeing from.  Those moments are shown infrequently but are powerfully direct and open a new realm to the watcher.  The Director Jacques Audiard, in common with past practice is rarely shy in showing the violence and the close up context within this story.  It produces blow after blow mentally and physically in which few can escape the prevai game message.  It asks why and shows the effect of outrageous misfortune and the dehumanizing world of many.

Without giving too much away hopefully I can only commend this film to you as an explicit piece of almost journalistic drama featuring elements which cross our everyday lives without having the recourse to dissect or define what is happening and to address the problems now.  Many things are moving towards helping people find resolutions but until the realisation is is not what we are put here on earth to do, we are not here to obliterate all we disagree with but seek common humanity as instinctively present in all.

John Graham

13 April 2016


See at QFT from 22 to 28th April 2016

Exodus : The Interview.

imageBefore we reach the denouement we live
Ridley Scott does interviews. The Egyptians do not do open culture.
For the Egyptian Government correctively they have decided to ban the Exodus Movie made by Ridley Scott.

Whiter than was white the film Exodus has Christian (I cannot see where this might take me) Bale, tests the credibility of Moses as he engages as a Spidermany type avenger for The God of God.
Ramses II is in flowing form, (though and this is not the contested part) gathering in his phoney rule on a high of hubris when Moses appears to the Egypt of Kadesh before even the El Giza marbles. Go Elgin with that discovery.

The Pharaoh at the time of the Exodus is not mentioned in the Bible. Instead it is the name of the city from which the Exodus began, a city built for the Pharaoh by the Israelites and from which the Exodus began. Ex. 1:11.

For banning movies, North Korea, has as media has it, in past weeks sought the film The Interview not to be shown creating a storm which became a box-office profit on ridiculing satire itself embracing assassination.
Ex-Ridicule Charlie Hebro
What came a week or so later and no one likes to make any sub-conscious connection, comes the Charlie Hebro cultural media mayhem ending in many deaths.

Morocco and obviously Turkey or is it Syria, have made the film Exodus an enemies piece of propaganda.

Taking on the Hitties in Syria, Rameses in around 13c BC seems to have upset Moses. Why else does this brother of Judaism become embroiled in what is portrayed as Egyptian to us of the Jews in slavery?

That slavery as now depicted is challenged by Egypt. History is revealing new discoveries which shall themselves create argument.
Sandstone stacks of corridors, some 30 metres long their narrow inscribed walls are now giving further insights as these walls show camps in Gebel El Silsila where the carvings for the Karnak and Luxor temples seem to have been produced. Then they were transported to Luxor.

Like the present, where a division exists between those that think the labour camps of Qatar, of Dubai, of the UAE, of China’s monolithic regions of mass production are slavery to the workers and work to the owners of the product, the description of slaves is something an answer is difficult to find so far back.

The sure slavery of our recent centuries is clear of wartime and in Chinese history. It is also ignored. The slavery of modern times is veiled and concealed often within the gaze of missionaries who turn to Amnesty or others to blow the whistle while they curate their truth.
Screen Slaves
Dismantling the hubris is Moses (I cannot see where this might take me) the hero epoch making edifice of strength with marbles. His commandments are worthy of hubristic force which is aligned with the words Jesus empowers us.

The Jewish Moses is part of (adopted) an Egyptian family whose mix becomes, became statues of the future world of Jewish and Biblical value out of Asiatic inhospitability, a group or family of extinct languages that includes cuneiform Hittite and its nearest congeners, as Lycian, Lydian, and Luwian. Did they turn away into the birthplace of Jesus as a result of the, Rameses – Moses entry to Israel, to Judaism restored, to become the source for the entry of Jesus.
Czech Egyptian Discoveries this last sx months
4,000 years of history have in the past few years found the working story of the pyramids which presently and until now been contested.

Exodus as in the Bible, is not what you see. What you see is not what is depicted. The sensation of the story is the Revalatory. Those walls found in isolated tall thin corridors within Gebel El Silsila are the finest and epoch making Cartoons of a storyboard which places any present day design into a water based pulp. 3,500 year old posters Ndebele alongside half sphinx like carvings by hunter-gatherers a mere 100,000 years ago.
Blasphemy by idiocy.
The property of renouncing the hypocrisy of Governments is a project of publishing satire as truth and describing the offence of blasphemy by idiocy of malformed truth. Charlie Hedro occupied this vein of luxury.
The vein of luxury found through a skill or aptitude for visualising the unspoken. There are no taboos to be applied. The taboos are to be taken.

The insecurity of others is the stinking pit of exploiting or ridiculing an understanding not obtained of another’s culture. It becomes a dry web of short war substitute intellectual war-heading. It is peripatetic child versions of Aristotelian philosophy. So wrong headed as to be not only offensive due author of destructive vitriol.
Alexander the Geographer
Reference to Alexander the Great makes itself a good point.

The land in which Alexander found his adventures in pleasing his parents of Greece, by obtaining and ruling over more productive fertile territory, for that is all that was at stake (Darius’s tent of captured loot was meaningless tat) only appeared in 350BCE rather appearing to entice comparison of eras as the machinery of the Exodus had marched only so far, into the Israel of the so called promised land. Alexander began the exodus for promising land.

The land of freedom and freedom from sacrifice of the person to indulgence, not the sacrifice of the people on lands newly occupied was of Moses prediction.

It prophesied the appearance of the true Creator. Dreams and hallucinations were frequent in the mind of Mose. The allegorist ran deep.

The veins of Alexander took on the geography in a totally physical sense. His burning passion for his childhood Heniylous friend, now belonging to the fertility which instead of lying west of Asia Minor; the heart being Alexandria, became instead lands of the fertile Persia which had riches aplenty.

Even greater was the green India of similar God fearing, worshiping deities which I think were found by Alexander to be far superior to any he knew.
West India has been so influential. The Gods themselves were created as expressions, fro expressions of the God given, Creator given richness some of which Alexander had only the wildest thought of.

There is in parts of India such essence as prompted out of his late found interest in Yoga Beethoven’s String Quartet No.12 the same balance Alexander may have discovered except his was a pathological illness of intense failing to subdue his violence and striving to command for the sake of his record his future lived after him. Beethoven did not have such problems only a message in alliances of sound.
Before Christ
It is a reinforcement ahead of the appearance of Jesus.
It is a militaristic approach to making decisions of human value.
It is a death nail found to be consigning the future to be hell through the actions of one man exemplifying the means on which nations are built.

The Exodus so defined and so unchallenged in Biblical times became and remains a Godless return for reference.

Mere man, so the present reasoning has it, being incapable of taking into the future the known words of Jesus – whose reckoning through the consignment In figurations of past history so absurd and contorted – they are still fashioned as an operable function and our media of destruction.

When the people within a action are seen to be separate alongside each other and divisions are made and found through a range of cultures descended upon them and carried forward it is seen that there is bound to be conflict. People literally bound in conflict.
More aggrevivng is the prospect of that being the outcome of needlessly doctrinal or forth righteousness displayed in a context outside the values which are the Creators will.

Somewhere and sometime the forgiveness will be fulfilled as when it is needed it is only for the perpetrator to seek it for it to be realised. It is in the finding not the giving.

Where shall it be found by whom and when?

All things are the will of the Creator.

John Graham

14 January 2015