Supertanker captain Marco Silvestri is called back urgently to Paris. His sister Sandra is desperate – her husband has committed suicide, the family business has gone under, her daughter is spiralling downwards. Sandra holds powerful businessman Edouard Laporte responsible. Marco moves into the building where Laporte has installed his mistress and her son. But he hasn’t planned for Sandra’s secrets, which muddy the waters…
About the film
«For me cinema allows empathy, sharing the pain of others, not talking about my own. That would be something else, a confession, a testimony.
It’s because someone else suffers that it becomes a tragedy that might make you want to fight».
«One day in spring 2012, I thought of the French title of a magnificent Kurosawa film, Les Salauds dorment en paix («The Bad Sleep Well»). This title gave me new heart and the desire to fight. That was my starting point: a strong, dependable man like Toshiro Mifune who, in those noir movies of Kurosawa’s, is both hero and victim – in any case the plaything of forces he neither controls nor understands».
Her films bear their viewers away, towards a hidden place: to the heart of darkness, it might be said, and all the more readily because African sources play a decisive part for her. But this darkness is not necessarily that of inextricable jungle or the blackness of the human soul. It is the darkness of the mysteries of our existence, of our desires, and our fears, here, now, and everywhere. It would be a futile quest to seek out among French filmmakers someone as filled with a sense of the world, in all its geographical and human complexity, as Claire Denis. As the grand-daughter of an inhabitant of Amazonia, and daughter of a colonial administrator, she was brought up at the mercy of her father’s postings in an Africa which has directly inspired several of her films (CHOCOLATE, GOOD WORK, WHITE MATERIAL), and haunts them all. She came to film somewhat haphazardly, after being an IDHEC (film school) student with no particular bent, and discovered the degree of her affinity with the language of film as a result of other journeys, aesthetic and geographical alike. Listen to the noise of the large Korean port in THE INTRUDER after the mediaeval chill of the Haut Doubs region of eastern France, feel the dry, white heat of WHITE MATERIAL, hear the harmonics of three continents around the cock-fighting pit in NO FEAR, NO DIE: this particular cinema is highly sensitive to the powers of places, to the political stakes of meetings, to the joyous and dangerous enigmas of the differences between languages, cultures, quality of light and music. Other journeys, other encounters, in Asia especially, in South America and in the Arab world too, would then continue to make Claire Denis the most cosmopolitan of French filmmakers, of either gender. © From Claire Denis—A Sense of the World By Jean-Michel Frodon