Take one lovesick, directionless young man, introduce him to the most hard-nosed and bull-headed young woman, and watch the fireworks. I'm of the mind that Arnaud is a tad underwritten while Madeleine was fully fleshed out, but maybe this is just a reflection of the considerable divide between the characters' personalities, amplified by the effective centering of Arnaud as a protagonist. Similarly, I can't quite make up my mind as to whether filmmaker Thomas Cailley attended the Tony Scott School of Military Boot-Licking, or if he's altogether cheekily using Madeleine and the second act (and the third, really) as illustration of how even the most self-important individualists and survivalists are just as surely doomed as everyone else when civilization falls. While we're handing out samples of criticism, it's worth mentioning that the picture jukes hard to the right in the last act, swerving from wry comedy to unexpected beats of significant drama, and the leap in tone is both surprising and a smidgen off-putting. Maybe all this is beside the point anyway, though, because even as the focus shifts a bit from beginning to end, the core of 'Les combattants,' or 'Love at first fight,' is in the dynamics between the two chief characters, and on that basis it's terrific.
As we often see with films about romance, the would-be couple start off as disparate as could be before ultimately learning from each other and closing the gap. That feels especially important in this case as Arnaud is developed and becomes more likable, coming nearer to matching Madeleine. That growth in the writing is also a boon to star Kévin Azaïs, who with stronger material (the difference between "feels like a supporting character" and "ah, NOW he's a protagonist") is allowed to spread his wings a little and show more of what he's capable of. With that said, while I admit I'm predisposed to liking Adèle Haenel ('Portrait of a lady on fire' is my top favorite movie), there's no question in my mind that she steals the show, embracing the fiery spirit of Madeleine and letting it drive her. I dare say Haenel is the primary draw of 'Les combattants' for most of the length, at least for me, and her performance provides an anchor for the feature while it builds its strength over time. I can see why Azaïs was awarded his César for for Most Promising Actor, and there's no doubt in my mind that Haenel absolutely earned Best Actress.
Though it's not without imbalance and rough edges, by and large Cailley and co-writer Claude Le Pape penned a splendid screenplay. It bears repeating that Arnaud and Madeleine are the beating heart of the picture, but the dialogue and scene writing are pretty sharp in laying out the course of their budding relationship, and the story at large is enjoyable and compelling. And in all other regards this is outstanding, including a fantastic, invigorating soundtrack, rock solid direction (kudos to Cailley with his first full-length movie), keen cinematography, and splendid stunts and effects. The hair and makeup work is great, and the production design is fine all around. One can plainly see and feel how much hard work went into this film, and when all is said and done, I'm happy to say it paid off handsomely. Unless one is a devotee of all things César or a major fan of someone involved it may not be a total must-see, but all who participated in its creation are to be commended for what is at length an absorbing, satisfying viewing experience. When all is said and done the subjective faults are minor compared to what value this can otherwise claim, and top marks to Cailley, Azaïs, and above all Haenel for shaping 'Les combattants' into the admirable work that it is. If you have the chance to watch, this is well worth exploring.
As we often see with films about romance, the would-be couple start off as disparate as could be before ultimately learning from each other and closing the gap. That feels especially important in this case as Arnaud is developed and becomes more likable, coming nearer to matching Madeleine. That growth in the writing is also a boon to star Kévin Azaïs, who with stronger material (the difference between "feels like a supporting character" and "ah, NOW he's a protagonist") is allowed to spread his wings a little and show more of what he's capable of. With that said, while I admit I'm predisposed to liking Adèle Haenel ('Portrait of a lady on fire' is my top favorite movie), there's no question in my mind that she steals the show, embracing the fiery spirit of Madeleine and letting it drive her. I dare say Haenel is the primary draw of 'Les combattants' for most of the length, at least for me, and her performance provides an anchor for the feature while it builds its strength over time. I can see why Azaïs was awarded his César for for Most Promising Actor, and there's no doubt in my mind that Haenel absolutely earned Best Actress.
Though it's not without imbalance and rough edges, by and large Cailley and co-writer Claude Le Pape penned a splendid screenplay. It bears repeating that Arnaud and Madeleine are the beating heart of the picture, but the dialogue and scene writing are pretty sharp in laying out the course of their budding relationship, and the story at large is enjoyable and compelling. And in all other regards this is outstanding, including a fantastic, invigorating soundtrack, rock solid direction (kudos to Cailley with his first full-length movie), keen cinematography, and splendid stunts and effects. The hair and makeup work is great, and the production design is fine all around. One can plainly see and feel how much hard work went into this film, and when all is said and done, I'm happy to say it paid off handsomely. Unless one is a devotee of all things César or a major fan of someone involved it may not be a total must-see, but all who participated in its creation are to be commended for what is at length an absorbing, satisfying viewing experience. When all is said and done the subjective faults are minor compared to what value this can otherwise claim, and top marks to Cailley, Azaïs, and above all Haenel for shaping 'Les combattants' into the admirable work that it is. If you have the chance to watch, this is well worth exploring.