Cannes

I Want to See

Je veux voir (Lebanon - France)

By ALISSA SIMON

'I Want to See'

A Mille et Une (France), Abbout Prods. (Lebanon), Tony Arnoux (France) production, in association with Coficup 2, Backup Films, with support of CNC, Hubert Bals Fund, Banque Libano-Francaise, CMA-CGM, Lebanese Ministry of Culture, Fondation Groupama Gan pour le cinema. (International sales: Films Boutique, Berlin.) Produced by Edouard Mauriat, Anne-Cecile Berthomeau, Fres Ladjmi. Co-producers, Tony Arnoux, Georges Schoucair. Directed, written by Joana Hadjithomas, Khalil Joreige.
 

What becomes a legend most? Surely not being a figurehead in a self-consciously arty pseudo docu-cum-road movie. Still, Catherine Deneuve's iconic presence lends some commercial appeal to "I Want to See," third feature from Lebanese helmers Joana Hadjithomas and Khalil Joreige ("Around the Pink House," "Perfect Day"). An uneasy mix of scripted scenario, improvisation and surprising reality, pic professes to want to show destruction wrought during Lebanon's 2006 summer war through the French star's eyes, but seems more concerned with capturing her image as she's trundled about. Fests and Euro tube constitute best market.

Lacking the immediacy of Philippe Aractingi's somewhat similar and more compelling "Under the Bombs," which filmed, in part, during the fighting, "I Want to See" was shot in late 2006. It's structured as a single day's excursion, although in reality filmed over a week.

The helmers' favorite actor Rabih Mroue drives Deneuve south from Beirut through his heavily hit home village of Bint El Jbeil to the border with Israel. Filmmakers (and Deneuve's impressively buff bodyguard) follow closely behind, occasionally inserting themselves into the action while commenting on the dangers and difficulties they face.

Lensing concentrates more on twosome in the car then what's outside. Seeming somewhat uncomfortable, Deneuve makes banal conversation about chaos of Lebanese traffic, hastily fastening her seat belt and repeatedly bidding Mroue to do the same.

Strongest images show a beach site where the rubble from ruined buildings winds up. A striking vision of swirling dust clouds, red trucks, yellow bulldozers, and the blue Mediterranean turning to rust, it makes palpable the broken country disappearing into the sea.

Most interesting moments appear unplanned, such as when an Israeli fighter jet roars overhead at a low altitude, causing Deneuve to jump in her seat. Better yet, Mroue becomes so preoccupied reciting Deneuve's monologue from "Belle du jour" in Arabic, that he accidentally turns onto a road that might be mined, creating intense distress all around.

Mostly as stiff as her perfectly coifed hair, a tired-looking Deneuve appears as if she feels every bump in the road. In contrast, Mroue, is a warm and sympathetic presence, articulate in French and Arabic, as he negotiates the hazardous highways.

Tech credits are pro, although d.p. Julien Hirsch's penchant for shooting reflections through the car's windshield becomes irritating, as does portentous electronica score.

Camera (color, HD-to-35mm), Julien Hirsch; editor, Enrica Gattolini; music, Scrambled Eggs; sound, Guillaume Lebra, Sylvain Malbrant, Emmanuel Croset. Reviewed at the Cannes Film Festival (Un Certain Regard), May 17, 2008. Running time: 75 MIN.
With Catherine Deneuve, Rabih Mroue.
(French, Arabic dialogue)