SALEM

SALEM #Cannes2023 Review: A Blend of Genres and Emotions that Defies Categorization — Akoroko

“Salem,” the second feature by the French director Jean-Bernard Marlin, is a film that defies easy categorization. It’s a non-linear film that’s both realistic and fantastical, using documentary-like realism to capture the reality of Marseille’s northern quarters, but with a layer of fantasy inspired by Shakespearean tragedies and surrealist cinema, to explore the themes of transmission, identity, and destiny, as well as the madness and magic of love.

Spanning several years, “Salem” follows Djibril, a former gang member who believes his daughter, the titular Salem, has supernatural powers that can save his community from a curse. He reconnects with her as a teenager, after years of being in and out of prison and mental institutions. He tries to convince her to use her abilities to heal the wounds of his neighborhood, which is plagued by violence, poverty, and rivalries. But Salem is reluctant to follow her father’s “delusions” and wants to live a normal life.

The film is divided into three chapters, showing three different encounters, each corresponding to a different phase in the relationship between father and daughter, each with different outcomes for their lives and their community.

The first chapter follows Djibril’s escape from a mental hospital when he tracks down Salem at her school. He kidnaps her and takes her to his hideout, where he reveals his plan to save their neighborhood.

The second chapter, presumably years later, centers Djibril’s release from prison as he tries to reconnect with Salem. He finds her living with a boyfriend who is involved in drug trafficking. He convinces her to join him in his quest to find the source of her powers.

The third chapter is their final encounter, again, presumably years later, when Djibril is on the run from the police and seeks refuge with Salem. He discovers that she has embraced her abilities and has become a healer for the people of her neighborhood. He also learns that she is pregnant with his grandchild.

To say more, especially about the outcomes of each, would be to potentially ruin the viewing experience for those who will see the film down the road. Suffice it to say that the film shows how the relationship between father and daughter evolves over time, as they face different challenges and opportunities, and the effect each has on the people around them, both positively and negatively.

The film is carried by the performances of its two main actors, Oumar Moindjie and Wallen El Gharbaoui, who play Djibril and Salem respectively. They are both newcomers who were discovered after a long and open casting process. They deliver authentic and moving portrayals of human beings who are complex and contradictory, passionate and vulnerable.

Director Marlin, who won acclaim for his Marseille-set debut feature “Shéhérazade” in 2018, also sets “Salem” in Marseille’s northern quarters, where he grew up. It’s a secondary character in a film that offers a unique perspective on a city that is often stereotyped or overlooked in cinema. Marlin shows audiences a different side of this city, one that is rich in diversity and culture, but also marked by hardship and violence. He also shows us how the past can shape the present, how mania can be passed on, and how love can be both a blessing and a curse.

Additionally, he depicts the area with a dash of gritty realism, using non-professional actors and real locations. It affords the film authenticity and a complementary “madness,” which is inspired by Marlin’s own childhood imagination, according to press notes. And he certainly wears his influences on his sleeve. From the direct Romeo and Juliet references, to the more subtle Bergman-like exploration of the unconscious complicated by Lynchian fantastical flourishes.

“Salem” is a film that invites the viewer to enter into its world, to question their own sense of what it means to be real versus a specter of oneself; the idea of authenticity versus illusion, identity versus projection, or even the contrast between life and death. The film invites audiences to revel in its emotions and sensations, more than the specifics of its plot.

“Salem” will likely elicit strong reactions, challenging conventions, and expectations. It showcases another dimension of Marlin’s filmmaking talent, daring to traverse new territories and genres. It is a film that warrants viewing and discussion. If anything, audiences will be impressed by its ambition and originality.

“Salem” is screening in the Un Certain Regard strand of the Cannes Film Festival.

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