Criticism of ‘The Triumph’ (2020): Farándula behind bars

Film review

In 2012, the brothers Paolo and Vittorio Taviani made ‘Caesar Must Die’, where the inmates of an Italian prison were preparing for a public performance of ‘Julius Caesar’, by Shakespeare. Now, in ‘The Triumph’, it is a question of representing, by a group of inmates, the play ‘Waiting for Godot’, by Samuel Beckett. An enchironado actor is in charge of directing all these inmates, capable in many cases of imparting a sovereign interpretive lesson. And, as in Vincent van Gogh’s painting ‘The Prisoners’ Round’, time stands still behind bars, as these showbiz members continue their show.

The film also reflects on what it means to be an actor in extreme circumstances. A matter that, by the way, was already dealt with by the Spanish director Rodrigo Cortés in the excellent ‘El amor en su lugar’ (2021). Undoubtedly, ‘The Triumph’ brings suggestive ideas to convicts of all conditions. The first is to have hope, since if there are fears and disappointments, lower your brows, because every night follows a tomorrow. The second has to do with love, as brothers that we all are. The third must serve to grow, turn on and maintain the creative light, while you wait firm and serene, since, unfortunately, many shipwreck when they are in the dark.

The triumph

• France. 2020. 100m. (12). Comedy.

• Director:
  Emmanuel Courcol.

• Interpreters:
  Kad Merad, Marina Hands, Laurent Stocker.