Heading South (2005)

Three female tourists have their eyes opened while visiting the poverty-stricken and dangerous world of 1980s Haiti.

Director:

Laurent Cantet

Writers:

Laurent Cantet (scenario), Robin Campillo (scenario)

Stars:

Charlotte Rampling, Karen Young, Louise Portal

3 wins & 1 nomination.

Cast

Cast overview, first billed only:
Charlotte Rampling	...	Ellen
Karen Young	...	Brenda
Louise Portal	...	Sue
Ménothy Cesar	...	Legba
Lys Ambroise	...	Albert
Jackenson Pierre Olmo Diaz	...	Eddy
Wilfried Paul	...	Neptune
Anotte Saint Ford	...	Limousine Girl
Marie-Laurence Hérard	...	Airport Woman
Michelet Cassis	...	Charlie
Pierre-Jean Robert	...	Chico
Jean Delinze Salomon	...	Jérémy
Kettline Amy	...	Denise
Daphné Destin	...	Lossita
Guiteau Nestant	...	Frank

Storyline

Haiti, late 1970's. Sea, sex and sun for Ellen, Brenda and Sue, three North American ladies, on the wrong side of forty or fifty-odd, going through an enchanted interlude. Lonely, forsaken, neglected by men in their native countries, they can indulge here in carnal exultation without shame, thanks to handsome local young men they pay a few dollars. Ellen is a Boston French literature professor, Brenda, an unfulfilled wife from Savannah, Georgia and Sue, a sexually frustrated but good-natured Canadian factory worker. In this second garden of Eden they don't care too much about the neighboring poverty nor about Baby Doc's violent dictatorship. The trouble is that that two of the three women have sights on a single man, Legba. And Legba is beginning to be fed up with being a stud...

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Plot Keywords:

haiti | sex tourism | race relations | murder | lust | 

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Genres:

Drama

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Certificate:

Unrated

Details

Country:

France Canada Belgium

Language:

French English

Release Date:

25 January 2006 (France)

Also Known As:

Heading South

Filming Locations:

Playa Bonita, Las Terrenas, Dominican Republic

Box Office

Opening Weekend USA:

$42,810, 9 July 2006

Gross USA:

$896,923, 24 November 2006

Company Credits

Production Co:

Haut et Court, Les Films Séville, France 3 Cinéma

Technical Specs

Runtime:

108 min 105 min

Sound Mix:

Dolby Digital DTS

Color:

Color

Aspect Ratio:

1.85 : 1

Did You Know?

Trivia

Part of the film was to be shot in Haiti but only one week's filming took place because political events prevented the crew from staying longer. The rest of the film was shot in the Dominican Republic, in neighboring Santo Domingo.

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Goofs

When Brenda is desperately looking for Legba and she wanders around the village at night, one of the guys she crosses by is wearing a Larry Johnson NBA New York Knicks basketball jacket with number 2. Larry Johnson played for the Knicks in the mid '90s.

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Quotes

[recalling her first time with Legba]
Brenda: We were both lying in our bathing suits on a big rock, basking in the sun. His body fascinated me. Long, lithe, muscular, his skin glistened. I couldn't take my eyes off him. And the later it got, the more I was losing my mind. He was, he was lying there beside me, his eyes were shut. I remember every move I made, as if it was yesterday. I edged my hand over and placed it on his chest. Legba opened his eyes and immediately closed them again. That encouraged ...

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Connections

Featured in The Look (2011)

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Soundtracks

La femme de mes rêves
Traditional
Performed by Ti Koka et Wanga Negès

User Reviews

Searing-- the most complex, controversial movie of the year!

I just saw the US premier at the American Museum of Moving Image last night [10/20/05]. Cantet and co. interweave three short stories by Haitian writer Dany Laferriere (not yet translated into English from French as of 10/21/05). Though the scope and themes of the stories differ considerably, "Vers Le Sud" is as shattering and masterful as Cantet's previous feature, "Time Out," and should similarly be talked about for years to come.

Cantet and cinematographer Pierre Milon have shot many incredibly complex emotional exchanges without relying on any obvious dialogue. Their confidence that it would cut together and 'play' so well on screen must be partially due to Cantet's having a co-writer who is also the editor (Robin Campillo). The story is told through subtle reactions, gestures and intonations ala "Time Out," but Vers's dialogue seems both more plentiful and more emotionally transparent.

"Vers" also contains more characters, incidents, and a more complex thematic scope than "Time Out." Where "Time" explored a single character's relation to work, pride, and masculinity, "Vers" explores 3 middle-aged white women's sexual and romantic desire for a teenage Haitian, black male prostitute. Cantet explores the central situation's inherent political, racial, sexual, emotional and age-related issues-- often in the same scene.

In doing so, Cantet / LaFerriere necessarily broach a number of taboo subjects: middle age women being openly sexual on screen, and being sexual with teenagers; women paying male prostitutes; white women with black men; women as one discarded, ignored caste, hooking up with another discarded, ignored caste (3rd world men of color); women giving sexual desire the same primacy in their lives as men traditionally have; the world's richest bedding the world's poorest; the willful blindness of the rich towards the suffering of the poor or foreign; American economic imperialism; the predatory nature of consumerist tourism.

In exploring these issues, Vers provokes a sense of moral/political outrage on par with the very angry, very moving "The Constant Gardener." The tourist women of "Vers" turn a willfully blind eye to the dire political / economic situation that drives vulnerable young men into their beds. To watch these women do this is infuriating; their desire becomes repellent, exploitative.

But at the same moment, we are also made to feel how touchingly human these women's needs are-- for love (Brenda), sex (Ellen) and affection (Sue). We experience their loneliness as achingly poignant, even tragic. During the Q&A, one middle-aged woman in the audience referred to the film as pro-feminist in its emotional honesty, and I agree.

The women's relations with their gigolos appear to be emotional two-way streets, albeit with a much wider lane for the Northerners. The women and young men do share affection; and it isn't hard to understand how the women could fool themselves into believing in the possibility of real love blossoming in these tropical, permissive environs.

But when disagreement or insecurity arises with the gigolos, the women's economic superiority gives them the final word. That the same characters in the same scene can simultaneously evoke nausea and tenderness is a testament to the skills of all involved.

The film feels very French in its tasteful restraint -- the sex is never shown -- and in the way it explores its politically charged themes largely through male/female relationships. The film therefore plays entirely as human drama, and never feels sensationalistic, didactic, or titillating.

I had a few *minor* quibbles with this great film. The performances of actors playing Ellen, Albert and Legba were pitch-perfect. But there were moments in Brenda and Sue's scenes when I felt them 'Acting'-- whether this is attributable to lapses in writing, acting, directing or editing is impossible to know. I enjoyed the monologues, delivered into the camera, but I thought they would have felt less artificial if another character had been written into the rooms with them, for the character to address. I also felt it lasted 1 or 2 scenes longer than necessary in the end.

Some have argued that the film should included more of Legba's perspective, but I disagree. Given the sensitivity of the film as a whole, the nationality of the original short story writer (Haitian), and in conveying Legba's emotions in particular, I'm sure that the storytellers made a conscious decision not to include more of Legba's perspective, and the film's structure is the stronger for it.

In fact, the film could only have been created by a group of artists working at the top of their form. Like "Time Out," there will not be a more complex film than Vers Le Sud this year (and I include my other art-house favorites 2046, Head-On, Last Days, Broken Flowers, Brown Bunny, The New World, and yes, Kung Fu Hustle). Here's hoping Vers gets a proper distribution.