2023-08-27 16:28:18
Quebec director Denys Arcand presents at the Angoulême Francophone Film Festival (FFA) the world premiere of his 15ᵉ feature film, “Testament”. A single retiree finds himself confronted with current identity claims in Canada. A little lost, just waiting for death, it might be that the current upheavals bring him back to life.
Denys Arcand likes to denounce the failings of an era. In his latest film, Testamentpresented in world premiere at the Angoulême Francophone Film Festival (FFA), the Quebec director confronts a single retiree with the current identity upheavals and signs a great film.
Trailer of Testament by Denys Arcand, whose theatrical release in France is scheduled for November 22, 2023.
Jean-Michel, 70, is patiently waiting for death to find him. His days are punctuated by walks (in the cemeteries), some research in the archives and exchanges with his neighbors who, themselves, crunch life. The arrival, in front of the residence for the elderly in which he lives, of young activists who have come to demonstrate once morest the presence in the establishment managed by the State of a mural fresco which they consider humiliating with regard to the Amerindian peoples comes pull him out of his torpor.
The fresco in question represents Jacques Cartier at the time of his discovery of Canada in the 16ᵉ century. Inspired by a canvas seen by the filmmaker in a New York museum, it represents him surrounded by his armed men, facing a chief of one of the indigenous peoples, dressed “wild”. Until then, the fresco seemed to bother no one until the arrival of demonstrators who were determined to get Canada and its institutions to respect the First Nations. “Respect for First Nations”they shout in English outside the establishment.
From a film regarding old age and slow oblivion into which an artist’s work can quickly sink (Jean-Michel has published several books for which he receives an honorary prize at the start of the film, but the organization of the prize pitifully confuses with those of another…), Testament turns into a highly political narrative.
What to do with a fresco, “image of an announced genocide” ? A document for history? A story to erase to wash away the affront? How to welcome the demands of youth? How to read the national narrative? Where to find the truth? “The human being leaves traces”notes Jean-Michel, a fine connoisseur of the work of an archivist: in letters and books of the past and now computers…
A form of inquiry is then undertaken to state the nature of the conflict in progress within Quebec society. Overwhelmed by the drama unfolding, Jean-Michel will seek the advice of friends and that of a representative of an Amerindian clan who, in an implacable demonstration, will deliver a pictorial analysis of the fresco, revealing its meaning to everyone’s eyes. After an exchange with the demonstrators, she will conclude, in English, that they “are in no way Native Americans”, just “concerned citizens”. It will end with a “Good luck” which says a lot regarding the difficulty of untying knots.
While our hero is sorry to see that “privacy has (become) an ancient value” and that henceforth “what matters is the community”, other upheavals affect the residence. The library is being emptied of its books by order of the ministry, which now believes that residents will be more intellectually stimulated by video games. And books to be recycled into gift wrap. Scenes of exquisite humor ensue, revealing the stupidity and incongruities of the time.
One thing remains: Jean-Michel is secretly in love. If he confronts the failings of his time to re-establish historical truths, here he is on the path to another reconquest, that of life through the possibility of the only thing essential in the eyes of the filmmaker: love.
Testament by Denys Arcand, in theaters November 22, 2023. With Rémy Girard, Sophie Lorain, Marie-Mai.
Portrait of Denise Robert, producer of Testament : Jérôme Deboeuf and Christophe Guinot.
Three questions for Denise Robert, producer of Testament.
France 3: What was the starting point for this film?
Denise Robert : I think it’s the fresco (representing Jacques Cartier arriving in Canada, editor’s note) that we saw when we were visiting New York. It sowed a reflection in Denys. I believe it came from that. And, at the same time, he also started from the notion that it is very difficult today to find oneself, one loses one’s bearings. Denys is 82 years old, he has certain benchmarks, his son is 27, these are very distant generations. To have an 82-year-old man, forced to open his eyes to a new world, that of his son, I think that’s what made him question today’s reality, but without judging it . He prefers self-mockery, and in the end, the main character embraces this new reality.
France 3: In the film, privacy is presented as an ancient value…
Denise Robert : It’s true. With social networks, people are isolated. There is also a questioning, when you hear ‘I no longer have anyone to talk to’ and the character answers ‘I too, I feel lonely’. Whatever the generation, we feel this loneliness, we feel this lack of being able to exchange, to listen to the other. We are not obliged to agree, it is simply to listen and therefore to create this dialogue between the generations. We must return to the dialogue that enriches us all.
France 3: Did Denys Arcand want to deliver a testamentary work as the title may suggest?
Denise Robert : I don’t believe this is an end-of-life will. The film shows it, there is a glimmer of hope. Despite the changes in our societies and between different generations, there is one thing that remains, and that is love and friendship. Certain landmarks that he has lost, he must rediscover them to see life, it is a kind of reflection of the past, the present, the future.
Interview by Clément Massé.
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