Welcome

After watching this movie in an almost desert movie theatre I was overwhelmed by sadness, but after reflecting upon it, I could discover very positive feelings and a very interesting view of the theme handled. What I liked most is the idea of intertwining the story of human solidarity between Bilal and Simon with the also deep relationship between Simon and his wife Marion. I intended the movie truly thought-provoking in the way it manages to make one reflect on the concept of the "other", who is not only the distant, unknown one, and on the idea that human solidarity begins with those who live with us or near us day after day. Marion is so animated by the need to help the poor, abandoned clandestines, that she has in turn completely abandoned, physically and psychologically, her husband, to the point of being no longer able to see his truly loving soul. And the sad, moving and intense story between Bilal and Simon will help both to understand the value of human affection, which starts from the nearest ones, leading naturally to the furthest ones. I think this is a very interesting perspective, which goes beyond social denunciation and void criticism of institutions, because it appeals to the conscience of the single man and woman and seems to ask him/her: how much are you ready, in first person, to give to others, to go beyond selfish needs, how much are you able to sympathize with anyone, where anyone is a member of your family, as well as the "anyone" you may meet on the journey of your life? The cast, above all Vincent Lindon and Audrey Dana, are extraordinarily good in the way they manage to speak with conciseness and naturalness to the heart of the viewer. It is a movie which makes one reflect deeply on the reality of the clandestines (with which each European citizen and authority have to come to terms daily, without often finding certain and respectful attitudes) but more deeply on the very essence of human affection. A must see.

In Philippe Lioret's latest film Welcome the title is obviously a contradiction, but the meaning of the contradiction itself is just as obvious. It's about illegal aliens in Europe, in this specific film narrowed down to Calais in France. And they are certainly not welcome.

Pic holds an unsettling tone throughout. While story lines tend to diverge, it's reminiscent of Ulrich Seidl's Import/Export in that it tells a story about people in motion in contemporary Europe. People whose conditions were bad from their take-off point, but becomes nonexistent in the grand, boarder-less EU. The limitations with this modern refugee policy of EU is that it only benefits our own. This is all old news for Lioret's protagonist Bilal (Firat Ayverdi) who comes from war-torn Iraq. His journey to Calais where the story begins has been long and painful, and the way to his love in London seems to stretch far beyond the horizon for the seventeen year old refugee.

These are harsh times, Lioret proclaims through images of a port district infested with immigrants, battering cops and even authorities that manifest a despicable manner not only towards refugees but just as well to people trying to help them. One of them is Simon (Vincent Lindon), a disgraced ex-champion in swimming. He seeks atonement in Bilal for his previous mistakes in life and the two becomes committed to each other. But in these harsh times nothing is certain and struggle lays ahead for both of them.

Philippe Lioret covers pretty much the whole lot of it. Each of his characters carries around on fear, despair, desires, love, longings and struggle. It is classic ingredients taken from the ordinary lives of those immigrants. In Welcome, however, it blends well with the non-immigrants as well. It is something they have to live with constantly, but something that is exposed to us at times as well. It is indeed an unpleasant take on modern refugee policy, but it is nevertheless a necessary take.

Rightly so, Lioret's film 'Welcome' confronts us with a changing Europe, from one which used to be tolerant to the less-fortunate into one dominated by fear, exclusion and self-righteousness. The anonymous setting of the port of Calais - exchangeable with Dover, Bari or Tarifa or any other border town in Europe – and the hauntingly introvert piano score add to the growing hostilities towards refugees in Europe. The two main characters are, each in their own way, equally tragic: Bilal, a 17-year-old refugee from Kurdistan, in desperately pursuing an impossible dream, and Simon, a disappointed middle-aged French swimming instructor, in not being able to cling onto that dream. The friendship and the actual drama begin when they first meet in a local pool. So far so good. Regrettably, and perhaps regrettably, Lioret diminishes the intensity of this relationship by wanting to provide too many answers to too many irrelevant questions. The result is that story lines, actions and ultimately even the characters become blurred and incredible, which is a great sorrow to inflict on a topic of this social magnitude. One only wishes a little more Dardenne-style type of filming in this film! The strength of 'Welcome' is that is requires us to reconsider to what extent we are willing to be human, social and forgiving towards 'the other' in an ever-harshening world. By examining the attitudes of the shop manager, the neighbour and the bureaucrat, we are eventually confronted with ourselves. 'Welcome' is certainly not an easy film but a highly desirable one.

The noun's meaning: a cordial greeting or hospitable reception given upon arrival; as well as its verb and adjective are horribly absent in Calais.

The crossing of the Channel is a treacherous endeavor for asylum seekers and illegal immigrants. The Channel Passers charge an arm and a leg (with little to no regards for safety conditions) for their clandestine operations. If caught asylum seekers and illegal immigrants are processed, tried, and sentenced to a life in limbo.

Their status allows them to stay in Calais but they are unwelcome and not allowed crossover to the Promised Land. Social workers are kept under careful watch and harassed by the authorities.

It is illegal to welcome an asylum seeker in your home. Jail time is awarded to good souls.

From Calais; when the fog clears, you can catch a glimpse the white cliffs of Dover: 34 km of rough waters to reach the Promised Land. By boat it takes 35 minutes to cross the Channel. By swimming… the world record was set at 6 hours and 57 minutes by a professional swimmer.

After traveling over 3000 km; from Iraq to France, Bilal; a Kurdish refugee, will attempt to crossover the Channel, by any means necessary.

This is a beautiful but devastating movie that will haunt your nights and dog your days.

Simply put: it is a must.

When the Kurdish boy Bilal, on the run from war-torn Iraq, is caught trying to cross the border into Englad, he ends up stranding in Calais. Here he meets Simon(in the process of divorcing his wife), who is as taken aback by the 17-year-old's sheer determination to meet back up with his girlfriend, Mira, in London as we are, and agrees to teach him how to swim. Yes, this kid wants to cross the channel. This is about love, the criminalization of refugees and people fighting against seemingly impossible odds. I have yet to watch anything else by this director, but now I will be on the lookout for it. He correctly realizes that this story is powerful enough, and thus does not need any manipulation for us to be deeply affected by it. Everything in this is underplayed, merely showed, and it is absolutely heartbreaking. The music is minimal(that, or it was so subtle that I did not notice it most of the time) and subtle, with only a single use of a tense piece(and it was still not overbearing). Other than that, it consists of a soft, sad piano, a sort of "voice" to the helplessness of the situation. While the young couple are seldom granted even direct communication(it tends to be second-hand), we believe in their deep feelings for one another. The acting is excellent all the way, and the characters are well-written, and like everything else in this, credible. Granted, this only really shows one side to the argument... still, no one in this feels "evil". Another great thing, and one that also helps it be more removed from Hollywood, is that everyone speaks the language that makes sense for the situation. Their native tongue, or English if they're talking to someone who won't otherwise understand them. There is a little sensuality, moderate violence and disturbing content in this. I recommend this to everyone who can comprehend it(maybe no one under 11). 8/10