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Seeking recovery in Rust and Bone

November 12th, 2012  |  Published in New Reels

Jacques Audiard’s new film Rust and Bone is an absolute knockout and one of the most beautifully realised films of the year.

In Rust and Bone, French director Jacques Audiard’s latest visceral triumph, you’ll see two of the finest acting performances of this or any year from Matthias Schoenaerts and Marion Cotillard. Raw, striking emotion is at the core of this adaptation of stories from Canadian writer Craig Davidson. And although Cotillard is the Oscar winning, more famous one of the pair, she really supports in what is Schoenaerts film as we follow his character Ali’s journey in discovering what in his life is really important to him. And in that process, we discover in Schoenaerts a bold new acting talent.

This is a movie about consequences and living with the choices you make in a split second. It’s also about recovery and how it’s possible to rebuild your life into something better than you ever thought it could be. Schoenaerts’ Ali escapes a nasty past in northern France (where his son was used a drugs mule) to the warm and hopefully welcoming Antibes to live with his sister – a quietly understated but powerful performance by Corinne Masiero.

But it might not be as easy as that. Ali is someone who most of the time, acts before he thinks, creating pain and anger in his wake. His son Sam (an accomplished performance by the very young Armand Verdure) is often the victim of this and we see Ali struggle with his emotions as he tries to be a good father, whilst also finding a new life for himself. When he gets a job as a nightclub bouncer and meets Cotillard’s marine park whale trainer Stephanie at the end of a drunken night out, it’s almost inconsequential at first. But their chance encounter becomes a lifeline for Stephanie when she becomes the victim of a horrific accident that transforms her life.

Their subsequent relationship, intertwined with Stephanie pulling herself back from the brink of tragedy and Ali scraping a living by bare-knuckle boxing, drives the film and gives us scene after scene of breathtaking drama. This is Audiard’s forte – two characters thrown together, who are challenged by the other in a way that no one has challenged them before.

It brought to mind, the wonderfully mis-matched pair of Emmanuelle Devos and Vincent Cassel in his dynamite earlier film Read My Lips. That also explored how it’s possible to find someone with whom you can exist, even when fate treats you cruelly. Like Cassel’s Paul, Schoenaerts’ Ali sees beyond the disability and to the person inside and in doing so, ultimately realises something about them self and what they’re capable of.

The boxing scenes recall the brutality of the prison brawls in Audiard’s extraordinary A Prophet and although it’s been a while since Audiard gave us such a strong female lead character as we have here, there could be few actresses who would embody Stephanie as brilliantly as Cotillard does – she seizes the opportunity for her most challenging role since La Vie En Rose and she’s luminous.

Behind the camera, Stephane Fontaine emphasises shadows and sunlight in his beautiful cinematography and Alexandre Desplat effectively mixes an original score and pop songs to great effect. It also shows once again that Jacques Audiard is one of the world’s very best film-makers and in Rust and Bone he’s given us one of the year’s very best films.

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