Power, absolute control and colonialism cannot stand when it is based on injustice, subjugation, betrayal, fear and terrorism. At some point, no matter how invulnerable an authority based on coercion may seem, it will collapse with a wave and into infinite pieces.
Catalan Albert Serra’s Pacifiction is a film that defies conventional narrative, offering instead a hypnotic journey through the complex layers of colonial power, political intrigue and existential terror. Set against the lush, paradisiacal backdrop of Tahiti, the film follows De Rolle (Benoit Massimiliano), a charming, sweet and enigmatic French High Commissioner to French Polynesia, as he navigates the intricate web of local politics and global machinations.
“Pacifiction” is not so much concerned with the machinations, intrigues and games of its plot as with the atmosphere, the fragile shell of mood it creates and the psychological spaces it explores. Albert Serra, known for his minimalist approach and avant-garde sensibilities, creates a narrative that is deliberately opaque, hermetic, where the story unfolds in a series of lazy, almost dreamlike sequences. The plot of the film focuses on the rising tension in Tahiti as rumors circulate about the possible resumption of French nuclear tests on the island. This potential threat, symbolized by the mysterious appearance of a submarine off the coast, becomes a catalyst for the film’s exploration of power, both political and personal.
De Rolle, a diplomat whose polished exterior hides many shadows of uncertainty, embodies the ambiguous nature of power. He is a figure of colonial power, but his position is deeply unstable. Throughout the film, he engages in a series of conversations with various local figures—politicians, businessmen, and the military—in an attempt to assess the situation and maintain the fragile balance of power. However, these interactions are fraught with ambiguity, and it’s never entirely clear who holds the real power or what each character’s true intentions are. De Rolle’s attempts to impose control are constantly undermined by the indiscernible nature of the forces at work. At one point, uncertain, he almost monologues.
-Politics is like a disco, a party with the devil. They think they control everything, they control nothing.
The pace of the film is deliberately slow, allowing the tension to build gradually and almost imperceptibly. Serra’s camera lingers in the verdant landscapes of Tahiti, capturing the beauty of the island, but also the sense of isolation and distance. The use of natural light and long, uninterrupted shots contribute to the film’s immersive quality, drawing the viewer into the world of the characters. The dialogue, often elliptical and fragmentary, heightens the sense of disorientation as conversations meander and loop back on themselves, leaving much unsaid. This narrative approach creates a deep sense of unease, as if something dark lurks just beneath the surface.
One of the most striking aspects of Pacifiction is its exploration of the theme of the nuclear threat, which looms like a dark cloud over the entire film. The possible resumption of nuclear testing is never explicitly confirmed, but its possibility looms large in the minds of the characters. This threat is emblematic of the wider fears and anxieties that permeate the film – the fear of the unknown, of unseen forces shaping the world in ways beyond our control. The officer’s efforts to uncover the truth are ultimately futile as the reality of the situation remains elusive and inaccessible.
The title of the film, Pacifiction, is an acronym of the words “Pacific” and “fiction”, suggesting a world where the lines between reality and fantasy are blurred. This is reflected in the film’s narrative structure, which eschews traditional plot development in favor of a more fluid and impressionistic approach. The result is a film that feels more like a meditation on power and colonialism than a straightforward political thriller.
Benoit Mazimel’s performance as the seasoned diplomat De Rolle is superb, capturing with subtlety and nuance the character’s elegant exterior and inner turmoil. He is a man acutely aware of his precarious position, caught between the demands of his superiors in France and the reality of life in Tahiti. Mazimel conveys this tension through his body language and expressions, often saying more with a look or a gesture than with words, which often hover vaguely with multiple conflicting meanings.
The film Pacifiction premiered in competition at the 2022 Cannes Film Festival and has since received significant critical acclaim, including being named Best Film of the Year by Cahiers du Cinéma. With Pacifiction, Albert Cera has created a film that is as enigmatic as it is compelling, a slow-moving thriller that delves into the ambiguities of power and the anxieties of the modern world. It’s a bold exploration of the complexities of political and personal power in a world where nothing is quite as it seems.
Respect for authority without thought, criticism and harsh control is the biggest enemy of freedom and possibly security because “who will protect us from the guards” if not the investigation of the truth and constant vigilance of the citizens?
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