Guillaume Nicloux’s Platoon-style drama about the French presence in south-east Asia is suitably violent, but also flirts with macho cliche
Guillaume Nicloux is the director of that rather extraordinary comedy The Kidnapping of Michel Houellebecq, in which the famous author created what amounted to a bizarre 94-minute cameo as himself, and also the bittersweet autumnal drama Valley of Love, with Isabelle Huppert and Gérard Depardieu. Now he has brought to the Director’s Fortnight section in Cannes an extremely confident and undeniably well-made Vietnam war movie, with something of Oliver Stone’s Platoon, except with the French in the role of the doomed occupying force, which in the 1940s preceded that of the Americans. The movie uses the term “Indochine” or “Indochina” in the opening titles, a colonial-era phrase, now rather frowned on, and predating the modern south-east Asia.
Guillaume Nicloux is the director of that rather extraordinary comedy The Kidnapping of Michel Houellebecq, in which the famous author created what amounted to a bizarre 94-minute cameo as himself, and also the bittersweet autumnal drama Valley of Love, with Isabelle Huppert and Gérard Depardieu. Now he has brought to the Director’s Fortnight section in Cannes an extremely confident and undeniably well-made Vietnam war movie, with something of Oliver Stone’s Platoon, except with the French in the role of the doomed occupying force, which in the 1940s preceded that of the Americans. The movie uses the term “Indochine” or “Indochina” in the opening titles, a colonial-era phrase, now rather frowned on, and predating the modern south-east Asia.
- 5/10/2018
- by Peter Bradshaw
- The Guardian - Film News
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