Throughout the assembly of two teenage boys – a Guinean illegal immigrant and a Normandy teenager – Ariane Doublet crafts a rural movie That’s easy, educational and tender
Was explored on display, and frequently from a rather striking angle, the topic of illegal immigration motivated Ariane Doublet – a manager with profound roots in the rural world (Les Terriens, Les Sucriers p Colleville) – to move against the wave and also to have a milder approach to the subject. Set among the fields and the hills that border the English Channel, Green Boys [+] had its world premiere at Paris, competing at the French division of this 41st Cinéma du Réel festival.
Alhassane is a youthful and slim 17-year-old guy, both silent and incredibly kind, that has travelled independently to leave his homeland, Guinea Conakry, coming in France after a journey that has lasted nigh-on couple of decades. Louka, meanwhile, is now 13 years old. He is a teenager from the local area, a calm, green harbor from the Normandy countryside, only a stone’s throw away from the ocean. Both teens have made a relationship (we do not know how) and they continue to come up with their budding friendship with all the simplicity that’s typical of the era: by kicking a ball to another, watching soccer games on TV, climbing trees, sharing bites, fishing for crabs, creating a shack (from the conventional Guinean fashion )… By the conclusion of spring through to summer, they happily pass their time outdoors and throughout their everyday meet-ups, their walks, and their observations of character and their casual conversations, both protagonists get to know one another, sharing what they’ve heard in their young lives; Louka educates Alhassane French expressions, the titles of trees, whilst Alhassane tells his buddy about stroking cows, prayer rituals, and the panic of the devil, and provides an extremely small account of his own struggles to attain Europe.
Over the duration of the countryside meet-ups, that are only ever interrupted by three (rather older ) adults, that make a fleeting appearance in the movie and also take a kindly approach to the duo, the movie slowly melts back in time, telling the narrative by means of a voice-over (at Alhassane’s mother tongue) and supplying a far more comprehensive report of his voyage from Guinea into France than is formerly awarded – out of his secret death to his very first phonecall months after his mommy, who had been convinced that he was dead; in the Libyan prison into the armed individuals smugglers he struck; by his fear of drowning in the Mediterranean into the detention camp in Sardinia (“it could drive you mad, nothing occurs. I was distressed”), until ultimately attaining France and Le Havre (“I had been alone in town, I could not talk to anybody. Where a neighborhood institution soon put him with a household (“there are particular rules you need to respect. Most of us have our habits… Occasionally, after ingestion, I’d smoke, but I did not say anything. I was embarrassed. If a person takes you in for free, then you eat what they offer you”). All this, without mentioning the question of social justice (“People judge you as in the event that you’ve committed an offensethey believe that what you are saying is a liethey attempt to trip you up. It is said you don’t believe as a kid, that the facial hair has increased, which you aren’t a slight”) and Alhassane’s fantasy to be a mechanic at France.
This is a crystal clear documentary, very straightforward and gentle, which offers the viewer with a breath of fresh air. Green Boys makes it possible for the core of its own subject-matter to appear little by little; it does not seem to inform everything, rather prioritising the silent spontaneity of both quite adorable main characters. Doublet accomplishes a delicate closeness for her topic which endows the film with a subtle, heady charm, all of the while projecting a constructive and positive light about the integration of migrants.
Green Boys is Made by Squaw.