Cantine / Transept, Cantine / Transept

Much before the character, there is a story, or, it is equal, a voice that tells. The face, the body, the tattoos, the images, the swank, the gestures and the gest —film credits included— all come after, i.e. halfway through, almost randomly, where it shouldn’t be. Before the delimitation (where is what? what belongs to whom? who is who?), we cross the limits: where are we? In the USA or in the suburbs of Paris? In the South or in the past? In adolescence or in the soup? Etc. We must admit that there is what’s most important, seduction too, in this ambitious waltz of a first film where genre film and film genre, English and French, skill and clumsiness mingle. (JPR) Dan Perez Benjamin Klintoe