At first I thought Audiard seems influenced by the Godfather movies, from the young enforcer who takes over a crime business in A Prophet to this movie’s immigrant stories (dunno how Rust & Bone would fit in), but after it became clear that Dheepan was heading towards rage and revenge, I thought of it as a more currently-fashionable Harry Brown (others are saying Straw Dogs).
The most interesting twist: Dheepan and his “family” are only pretending to be a family in order to get refugee status and flee Sri Lanka, where Dheepan was a Tamil Tiger. They live together like strangers, only playing the family role for outside observers, but gradually begin to respect and protect each other. Meanwhile, the block of apartments where they live and work is a drug hub which turns violent when lead dealer Vincent Rottiers (young Jean in the Renoir biopic) returns from prison. With these pieces in place, the movie gets to create a crowd-pleasing finale where Dheepan draws on his violent past to protect his makeshift family. M. D’Angelo: “After nearly two hours of depicting the improvised family’s patient adjustments, negotiations, and compromises, Audiard abruptly switches to Hollywood fantasy, and there’s no sign that he’s doing so ironically, metatextually, or with any other subversive purpose in mind.”
Still a pretty good movie. I’m not as upset about this winning the palme d’or (or Loach winning in 2016) as others are. Regardless of the winner, I’m still seeking out as many of the acclaimed competition films as possible (so far: Carol, The Assassin, The Lobster, Sicario).