The Film Movement October 17, 2017 DVD release of the 2016 French drama "Moka" provides further proof that the criteria of this New York based company for adding foreign films to its catalog includes that they can be made in America word-for-word and shot-for-shot. The only required variation regarding this one is that the United States and Canada be substituted for Switzerland and France.
"Moka" is particularly notable for introducing the Movement fan base to spectacular French actress Emmanuelle Devos; this is the fourth Devos film to make its way to the virtual pages of Unreal TV, and her performance is flawless in each.
The following YouTube clip of a festival trailer for "Moka" achieves the desired balance between providing an accurate sense of the film and containing minimal spoilers.
This New York Times Critic's Pick begins with grieving mother Diane Kramer (Devos) checking herself out of a psychiatric hospital and showing up unannounced at the home of her ex-husband. In pure drama/thriller style, we learn the full story of this couple and their teen son Luc in small reveals throughout the film.
Diane receiving a report from her private detective that he has narrowed down the probable car that fled a hit-and-run accident to four candidates sends Diane from her Swiss home to France in search of those vehicles.
Diane soon finding what she believes to be the car involved in the accident leads to the psychological portion of this thriller. The vehicle belongs to Michel, who is selling it. Michel is partnered with hair salon owner Marlene, whom Michel states no longer likes the car.
Diane becomes involved with Michel by negotiating for the purchase of the car. She becomes part of the life of Marlene by initially becoming a salon client and then assertively pursuing a friendship. Marlene reasonably does not understand why a client is making a strong effort to know her.
This relationship develops to the point that Diane inches close enough to being a stalker to concern Marlene. Diane befriending the daughter of Marlene is particularly creepy.
For his part, probable philanderer Michel interprets Diane assertively pushing him to sell her the car as her wanting a physically intimate relationship with him. This leads to a highly dramatic confrontation.
"Moka" particularly shines regarding how it handles the rapidly cascading reveals near the end of the film. Stating that Michel and Marlene discover that the other knows Diane and also sharing that having her cover partially blown prompts her confronting Marlene with her suspicions and receiving a somewhat surprising response is not much of a spoiler.
The general nature of the final reveal is predictable; the identity of the driver is more surprising and creepy. The outcome of this exposure also straddles the border between predictable and unexpected.
"Moka" holds true to the aforementioned spirit of handing out reveals as tasty morsels throughout the film and to rewarding the audience for waiting for those treats by leaving our full introduction to Luc to the end. We met him in a logical manner and see that he is such a sweet and shy guy with so much promise that we join Diane in grieving for him.
Like all good films, "Moka" adds depth to a compelling story. One scary truth is that the Cyber Age makes it very easy for anyone with a valid or erroneous gripe to track us down and drag our life into a circle of Hell.
A related note is the ease with which compelling but still circumstantial evidence can lead to a virtual (or actual) conviction. Most of us have minor experiences in which we have been on either side of a certain belief of guilt of wrongdoing despite knowing when we were the accused that we did not do it.
The always-apt Movement bonus short-film this time is the 2007 French drama "Le Creneau." This one is by "Moka" director Frederic Mermoud and features Devos in what seems to be a standard role of an unhappily married woman.
Devos plays pediatrician Camille. This medical practitioner is coping with an unhappy latish in life marriage to businessman Henri when dreamy and charming former friend Mathias brings his adorable son to her office on the afternoon of Henri and Camille dining with the boss of Henri. All of the ensuing action occurs as Henri increasingly is his own worst enemy by amping up his neuroses and associated tormenting of Camille. This coming on the heels of a delightful visit with Mathias understandably prompts Camille to re-evaluate her choice of husband.
Couples all over the world can relate to the final scene in which a frantic Henri harangues Camille as she is trying to parallel park in a tight space on a narrow street. The audience truly feels the pain of both characters but are on Team Camille.
Anyone with questions or comments regarding "Moka" or "Croneau" are strongly encouraged to email me; you alternatively can connect on Twitter via @tvdvdguy.
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