Won the Palme d'Or at the 2015 Cannes Film Festival. About an ex Tamil Tiger who goes to France after the catastrophic defeat. He is accompanied by a woman & child who pretend to be his wife & daughter. He has to adopt a new identity as he was one of the few leaders to survive. In France after moving around he gets a job as a caretaker in a block of apartments in an estate run by drugs gangs. He just wants a peaceful life but comes into conflict with the drug dealers. The warrior within has to emerge once moreThe story has been done before, in many Westerns; Ken Loach has done it in Scotland but Jacques Audiard ("A Prophet") puts his own stamp on this interpretation of the old tale. Really moving. 9/10.

Some reviewers, though generally content with much of the film, have been a bit too harsh in judging the climax.For instance, this comment: //In the last shot Yalini runs her ring-less left hand through his hair affectionately. The whole scene seems fake.//My 2 cents about the conclusion part: (1) Hindus - both men and women - don't wear wedding rings. There are certain other visual differentiators, mainly for women (a silver ring worn on fingers next to toe on both legs in both North and South India, a rich vermillion on forehead in North India) but gradually declining in urbanised environments. Equally, urban Indians end up aping some Western habits such as celebrating Valentine's Day with card/gifts, blowing birthday candles and indeed, using rings - but, it's not a norm yet. It's perfectly fine to show them without rings and make one conclude they're happily married without any of them wearing ring.(2) Yalini, the leading lady, informs at least a couple of times her relatives being settled in England. While she lacks the exit velocity from Sri Lanka (wherefrom none of her England relatives could help her), once she reaches that housing estate, she does realise she's bound to the fledgling household more as a moral responsibility (to the girl and the man who made it happen) than as her preferred choice. Thus, it's quite natural for the last scene of the movie showing her will having prevailed - to make another fresh start, having just escaped another strife-prone zone, albeit of a different kind.I thought Audiard had done the last shot brilliant - instead of letting sign boards announce one's in England (or a tiring sight of flight landing Heathrow!), he just shows a car(well,a taxi) that drives on 'wrong' side of the road! Viewers are quickly forced to connect the dots - of Yalini's stated preference for England and indeed her attempted escape once - and conclude they're in England.

If this film were from Eastwood or Bronson it would be said that it is shot but being French and Jacques Audiard, nothing happens. The film does not seem to me to be bad in essence, it is very credible, that is until the last fifteen minutes that the dialogue ends.It's a hard movie, if it is, it's credible. For me it's a bit repetitive. There comes a time when you do not know where you are going. I began to think about where I could go and to my surprise he headed down a surprising path. I do not want to say anything in order not to spoil the end, but it is precisely what makes me suspend it. I do not believe that end.Photography and camera are very normal. The mount also until you give by slow motion does not say anything and put the camera at the height of the feet, I imagine to disguise the effects.The actors are very good too, everyone. I do not know if they are all professionals or not but they are very good.In order that the script for my taste follows a way that surprised me since I thought I was seeing something social and I have seen some revenge.Spoiler: Now I do not know if someone is wondering if a person can pick up and steal a niece or little girl and that is fine and the worst thing is that it is not to save her, but to save herself. Above is thought to get rid of it.The end to the Charles Bronson, was shot and then the sequence of happiness. Great, how many people killed him? It does not matter? Or does it only matter if Eastwood does?

Greetings again from the darkness. Wars exist in many different forms. Some are over contested international boundaries, others are religious conflicts, while others are more personal and intimate. The stories of many refugees could be described as fleeing one type of war only to end up fighting a different kind. Such is the story of Dheepan.Jacques Audiard is one of the most exciting filmmakers working today. A Prophet (2009) and Rust and Bone (2012) are both compelling films, and though his latest may not be quite at that level, it's still full of intensity and personal drama. Mr. Audiard co-wrote the screenplay with Thomas Bidegain and Noe Dibre, and some of it is based on the remarkable real life story of lead actor Jesuthasan Antonythasan.Dheepan is a Tamli soldier who is so desperate to flee Sri Lanka that he teams with a woman and young girl he doesn't know to form what looks like a real family. By using passports of people killed during the war, the pre-fab family of three is issued visas to live in France. Dheepan gets a job as the caretaker for an apartment complex riddled with crime, violence and drugs – and learns to keep his mouth shut and eyes open.It's fascinating to watch these three people navigate their new life as they struggle with the language and a new culture. There are flashes of real family problems, but also the awkwardness of three whose only true bond is their escape from their previous life. Living in such close proximity means their true colors are bound to shine through no matter how much effort goes into the family façade.Jesuthasan Antonythasan (Dheepan) and Kalieaswari Srinivasan (as Yalini his wife) are both excellent and powerful in their roles despite being so inexperienced as actors. Their exchanges are believable, as is their disparate approach to the future. Ms. Srinivasan is especially strong in her scenes with local thug Brahim, played by Vincent Rottiers. The two have such an unusual connection … alternating between warm and frightening.Some have found fault with the final action sequence, but it's such a fitting turn of events given Dheepan's past … plus the camera work is outstanding. The film won the Palme d'Or at the 2015 Cannes Film Festival, and it's another notch in the belt of filmmaker Jacques Audiard. It's also a reminder that we can never really escape the past.