Prendre le large réal. by Gaël Morel

Abstract

Reviewed by: Prendre le large réal. by Gaël Morel Ann Marie Moore Morel, Gaël, réal. Prendre le large. Int. Sandrine Bonnaire, Mouna Fettou, Kamal El Amri. TS, 2017. Édith's father never missed a day of work in his life, choosing work over illness, injury, family emergency, or even vacation. With the same dedication and work ethic, Édith leads her life, choosing to give up her retirement benefits and follow her employer to Morocco when they close their factory in her hometown. Édith chooses to face the challenges that come with relocation instead of enduring life without purpose. She lost her husband many years before, and her estranged son lives far away. She lives alone in a large home that once housed the joy and responsibility of her family. As a widowed mother estranged from her only son, her job in the textile factory is the only companion she has. The still and lonely world of Édith is conveyed through the somewhat disconcerting cinematic decision to omit music and non-diegetic sound at the beginning of the film where the spectator sees a sea of fabric descending through the machines. For the first several minutes of the film, Édith's interactions with other characters are limited. She is seen as a worker; that is all. Another attributing factor to Édith's onscreen loneliness is her uncomfortable relationship with her son, which is revealed in Édith's trip to tell him in person about her relocation. Through their interactions, the spectator realizes that Édith did not know about her son's recent marriage or his sexual orientation. Moving to Morocco provides her with insight into [End Page 267] a new, dangerous world where she is assaulted, robbed, starved, and mistreated. Despite the challenges and hardships she faces, Édith finds close friends she can depend on and encouragement to rebuild her relationship with her son. In a film permeated with beautiful panoramic shots of the Mediterranean, Morel sets up a disconnect between Morocco as an ideal vacation spot and the hardworking natives that live there. With so many points of social convergence throughout the film, including Édith facing discrimination for not being Muslim, and the repeated dichotomy of the mother-son relationship, it is surprising to note that the overarching message of this film centers on the detrimental emotional, physical, and psychological effects of dedicating life solely to one's work. When Édith loses her job after challenging the unsafe working conditions of the textile factory in Morocco, she also loses her health and her sanity. After she is hospitalized, her son brings her back to France and her big lonely house. Ultimately, she sells her house and moves back to Morocco. She uses the money from her home to finance a restaurant with her friends in Morocco. Despite the moments of angst scattered throughout the film, which seem to suggest depression or suicide, Édith is able to find happiness through companionship with people that care for her. The positive message of the film that new beginnings can be found late in life and that life has more to offer than hard work makes Prendre le large a beautiful and satisfying film. Ann Marie Moore New Manchester High School (GA) Copyright © 2019 American Association of Teachers of French