Clan, Le (2004)

Director:

Gaël Morel

Writers:

Christophe Honoré (writer)
Gaël Morel (writer)

Release Date:

16 June 2004 (France)

Genre:

Drama

Plot:

Annecy is no tourist destination for three working-class Algerian brothers and their father, in the months after their mother has died...

Plot Keywords:

Swimming | Gay Sex | Fistfight | Penis | Masturbation Scene

Awards:

1 win

Cast

Nicolas Cazalé	...	Marc
Stéphane Rideau	...	Christophe
Thomas Dumerchez	...	Olivier
Salim Kechiouche	...	Hicham
Bruno Lochet	...	Le père
Vincent Martinez	...	Le "professeur"
Jackie Berroyer	...	Robert
Aure Atika	...	Emilie
Nicolas Paz	...	Montana
Mathias Olivier	...	Ryan
Gary Mary	...	Luc
Geordie Piseri-Diaz	...	Jérémy
Clément Dettli	...	Henry
Pierre Vallin	...	Sly
Janine Ribollet	...	La mère de Sly

Also Known As:

3 Dancing Slaves (USA)
Clan des hommes, Le (France) (working title)
The Clan (International: English title)
Trois danses d'esclaves (France) (working title)

Runtime:

90 min

Country:

France

Language:

French

Color:

Color

Sound Mix:

Dolby

Certification:

UK:15

Company:

Sépia Productions

Movie Connections:

Features Apocalypse Now (1979)

A developed aesthetic in an underdeveloped director

Director Gael Morel debuted as a young actor in Andre Techine's excellent "Wild Reeds". In it he plays a teenage boy who develops an obsessive passion for a young Frenchman of North African descent, played by Stephane Rideau; Rideau being something of a prototype of the exotic, masculine male in question, (though in "Three Dancing Slaves" he has clearly outgrown the boyish stage.) In retrospect it's safe to guess that Techine cast him in such a role, having knowledge of Morel's own passion for the fore mentioned type. Morel films as a director are clearly dominated by this passion, overshadowing his treatment of the elements of story and character development which are somewhat lacking in his movies this far.

Morel is true to himself is expressing his personal fascination with the specific male type in question. "Three Dancing Slaves" abounds in images of the actors in various states of dress and undress, filmed with great care and with a genuine love for the form. It's a very specific gay aesthetic, expertly executed and one that will resound with those who share Morel's particular tastes.

Yet Morel aspires to more as a filmmaker and so he should. "Three Dancing Slaves" reveals moments of promise but ultimately falls short in most areas. His future as a movie director of merit will depend on his own development as an artist and his ability to bring his passion to the screen as an integral and balanced part of his work.

Despite the inherent weakness of the the film, "Three Dancing Slaves" does at least mark Morel as a possible talent to watch.