The least we can say is that WB the Lord is not complacent and that a film is not necessarily going to silence criticism and controversy about Travellers and their presupposed mania pilferage. Jean-Charles Hue was adopted by a group of Yenish, a community of travelers. And having done some documentaries on them, he wanted to go further and propose a feature referred to the border between documentary and fiction.
The hero of this profoundly original film are not actors, what are the family members Dorkel living in caravans, call the parking place and spend most of their time roasting sausages on grills fortune. At the heart of that community standards, the law runs Loved buckshot or for duels. Here we expose its power by spinning the wheels of a BMW that has inevitably fly. Frederick Dorkel , the story's central character is a petty criminal in 'scarface' respected by the community. He steals cars, calls everyone "my buddy," dream of having a gun, and parley with his wife to see if has the right to be pissed with the guys in the back of the trailer. He leads a gypsy life right in the photograph, encrusted in a dull and rigid reality. One evening, Frederick visited by an angel, a white light and intense invades the screen to appear. A white dog breed pitbull is entrusted to him by the angel that he initially wanted to remove rust. Fred decides to turn to God, something quite natural for a Yenish who lives surrounded by a religious fervor preached by ex-convicts.
Jean-Charles Hue has affection for the characters of his film, none of them is a professional actor. He must somehow cope with their lack of vocation. If Fred has the necessary stature, charisma also his cousins, his brothers and parents, not really. If the scenario confronts faith in the reality of a life based on the cycle of theft, its spiritual significance is approached with a little too lightly or naivete. The realism of the documentary aspect is successful despite the difficulty of understanding all the dialogue (but could have been the caption without label), the symbolic aspect of fiction, the appearance of the angel the figure of the Redeemer whose purity dog's white coat is opposite to what is known pit bulls, the WB's black top, immaculate one of the end ... all that is coarser, more borrowing, more academic too. No offense to photograph racy, always in search of a saturation of the frame and an overflow of the shadows and reflections on puddles of oil and rust mirrors of time.
The violence of the Lord WB is religious. Frederick can fundamentally change despite the call of faith. His environment, his friends, his family did not want to see evolve. Religion brings the drama because it fits with too much life, presence and artificial breaks taboos and achievements, it requires a lot of sacrifices to happen. The film Jean-Charles Hue is furious worth atypical but too rough in his direction of actors to be really attractive. One might be to believe in the middle of a story of striptease in which a group identified X has tamed the camera to point to forget it and decided to play to represent his lifestyle at the best price exaggeration. An episode of striptease mystical and rare as some were.
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