‘Trois Mondes’


“Trois Mondes” was the only film by a female directorshown at the Cannes Film Festival last year. Among the testosterone-fueled macho films that got all the attention (“Killing Them Softly,” “Lawless”) “Trois Mondes” was striking in its approach to death and bodies — the characters convene and agonize over the demise of a single migrant worker. In doing so, it lends dignity and perspective to the reality of life that is all but absent from the popular run of shoot-’em-up movies that confuse a body count with wrathful justice.

Trois Mondes (Kuroi Suit wo Kita Otoko)

“Trois Mondes” is aptly benevolent and forgiving, often overly so. Three car-dealership colleagues have a party, have one drink too many and accidentally run over a Moldavian migrant worker. There’s a witness: the pregnant young Juliette (Clotilde Hesme), who was watching from her window. She calls an ambulance, gets in touch with Vera, the wife of the victim (an excellent and passionate Arta Dobroshi), and tracks down the driver, Al (Raphael Personnaz). Al is guilt-ridden, but he’s about to wed the boss’ daughter and a scandal like this will ruin him. He decides to lie and cheat his way out but becomes so overwrought he sneaks into the hospital room to whisper frantically to the unconscious man: “Please live, please live!” The ensuing drama is dense with emotion.