"Thirty Five Shots of Rum"
(2009, Claire Denis, France)
Average Contributor Rating:

“35 Shots of Rum” tells the subtle story of a father and a daughter, Lionel (Alex Descas) and Joséphine (Mati Diop), who have come to depend on one another. The matriarch figure of the family is absent, presumably dead, but these two go about their lives, always in each other’s pockets, looking out for one another. However, Lionel knows that – soon enough – it will be time for Joséphine to move on. Enter Noé (Gregoiré Colin), a single and odd man living in the penthouse of their apartment block, who has both a soft spot for Jo and the blessing of Lionel.

The film’s major objective is to discuss familial relationships, most notably those between father and daughter. The early scenes do well to set up this dynamic and provide an insight into the closeness of the pair, particularly the sequence in which Lionel returns home from work, has a shower, whilst Joséphine prepares dinner. Not only does it show how perfect these two people work together, but it also sets up the tone and pace for the rest of the film; quiet and meditated. Denis never gets ahead of herself, instead constantly searching to find some real depth in this relationship, and to discuss as fully as she can the nature of family and the bonds between relations. In many ways, it fits in well with the films “Mother and Son” (1997) and “Father and Son” (2003), both directed by Aleksandr Sokurov, which both examine the unspoken bond between a son and the respective parent. Sokurov has promised to make a third film of this ilk, but I don’t really see how he could hope to improve upon Denis’ effort, because “35 Shots” is an excellent demonstration of this bond, and how both parties feel they have to remain faithful to it. It also discusses growing up and moving on, and the complexities involved in first romances.

Denis’ film, which is her twentieth, has a perfect style and tempo, taking things at a leisurely pace in order to truly capture the rhythms (and mundanities) of daily life. Indeed, it seems to feel that as much importance lies within the seemingly banal events in this family’s life – such as their evening routine or meeting up after work – than the seemingly important ones, like the breaking down of a car and a first kiss. And, of course, it works, because “35 Shots of Rum” feels like a complete film, deconstructing everything that matters, from the melodramatic to the humble, and what we are left with is a true reconstruction of a relationship. In terms of mood, tempo, and pace, the film is reminiscent of Yasujiro Ozu in its capturing of the rhythms of the every day, Eric Rohmer in its ability to realistically deconstruct relationships, and Krzysztof Kieslowski in its pacing and it’s delivery of dialogue. That it draws so much from these directors, as well as others (there’s certainly some Sokurov and Tarr here, too), could lead you to believe that it’s unoriginal, but it manages to create its own identity thanks to its characterization and its ability to go through long sequences with virtually no dialogue. A lot of its power lies in this silence, and – in fact – it only adds to the nature of the bond between father and daughter; unspoken.

The acting is universally excellent, too. Of course, the major draws are the performances of the two leading actors. Mati Diop is perhaps most effective, reaming subtle and using dialogue only sparsely, but still managing to perfectly communicate the fatherly bond. He also does a great job in conveying acceptance, in that he’s finally able to let his daughter go, whilst still keeping a realistic and logical protective aura about him. Alex Descas is slightly lesser, but still does a great job, portraying a woman who is being asked to grow up by her father, without actually being totally sure that she’s ready to herself. In fact, the most integral scene of the film may be the visit to Germany, which – on first looks – may seem a little pointless and indulgent. The visit to the grace of Jo’s mother and Lionel’s ex-wife perfectly conveys their silent understanding, and is the scene where Jo realizes she can both be faithful to her father and pursue romantic involvement of her own. And then there’s Gregoiré Colin, who will probably – in the long run – be forgotten in the long run when compared to Diop and Descas, but his contribution to the film in the supporting role of Noé is profound and, really, necessary. It provides an outsider’s view on the relationship, both respectful and frustrated, unable to consciously break the bond by force yet desperately craving permission to move in on a girl that he is so obviously in love with.

“35 Shots of Rum”, along with Lars von Trier’s very different but equally great “Antichrist”, may just be one of the best films of 2009. It’s subtle and humble, but remains immensely powerful in its deconstruction of familial relationships. It also features themes of voyeurism, obsession, and depression, all collaborating to give the film a labyrinth feel, at times thoughtful and abstract and at others blunt and concrete. There are so many other reasons to recommend the film, from Denis’ assured and confident direction to Tindersticks’ measured and emotive rhythmic score, but what will stay with you is the central relationship, perfectly written and expertly portrayed by Descas and Diop. . JB.