What happens when the patriarch of your family business dies? That’s one of many questions answered in Philippe Garrel’s latest film, The Plough.
★★★★✰
Art imitates life for Garrel as he directs his three children for the first time. Louis, Esther and Léna Garrel respectively play Louis, Martha and Léna, the children of a puppeteer (Aurélien Recoring) who directs their Punch and Judy-like puppet show, Le Grand Chariot. They are joined by their ageing grandmother (Francine Bergé) and employee-turned-surrogate sibling Pieter (Damien Mongin). The film takes inspiration from Philippe Garrel’s own father, who was a puppeteer.
A sweet mixture of grief and opportunities, the film, whilst simple at times, is charming as the family figures out how to move forward from their losses. Their family dynamic translates easily onto the screen, small intimacies of support like sharing bread at dinner and comforting one another after nightmares demonstrating their closeness. Each sibling is given a set role by their unnamed father after he passes; Louis becomes the breadwinner, with a successful stage career; Martha must ensure the family business carries on: Léna, as the youngest, is there to support her siblings. Pieter, the wildcard, shows how loss can cause a world to unravel. The additional task of caring for their grandmother, who eventually succumbs to dementia and whose childlike personality is a vital part of their business, is another plate to keep spinning.
Garrel’s direction is simple, but it works. He doesn’t need extravagance in the score or cinematography to embellish the story—it is effectively told through the details of the piece, the simplicities of small sibling interactions and familiar bonds. The script itself is understated, allowing the actors’ talents to shine through.
Everything is small and contained. A love triangle between Louis, Pieter and the mother of his child is undramatic. It’s just another thing that is dealt with amongst countless other things going on. This is the film’s strength: its emphasis on strong family ties that ensure no individual is left to struggle alone.
The cast’s performances are charming. No one is unlikeable, even when their actions are questionable. Mongin’s performance as dwindling artist Pieter particularly stands out, as he navigates the difficulties of selling his artwork. It does sometimes toe the line of being slightly melodramatic, but in the grand scheme of things, works out in the end.
As a declining art form, the family’s puppets mirror the siblings’ daily struggles. Both are stuck performing the same routines, with any changes feeling unnecessary and the idea of being in a new play inconceivable. Only when the opportunity emerges to finally break free of the industry does it feel like they can breathe and move on.
However, much respect is given to the art form. The puppets are tenderly cared for, painstakingly restored and treated as if they are actors themselves. Garrel films the siblings performing, mainly for groups of schoolchildren, as they tour around France. It’s joyful watching them perform, hearing rather than seeing the audience’s approval through their laughter. When we are finally watching the puppet show from the young audience’s perspective, seeing the art versus the artist, the scene is carefully crafted to admit a small tragedy. When the puppets fall back silently and Martha abruptly stops the performance, there is no need for us to see what happened behind the scenes.
The struggle of a working artist is portrayed with sympathy. Whilst Le Grand Chariot clearly makes enough to get by, it begins to dwindle following the death of the father. It provides a realistic outlook on the life of an artist, one without any glamour. It is simply a day job, and one that can become tiresome and spark a desire for a way out. It is a refreshing portrayal, and one that should be seen on screen more often.
Because of its simplistic realities and successive tragedies, The Plough has the potential to be much more devastating. Its sweet, simple charm instead offers an optimistic outlook on life, loss, and moving on. The characters carry their losses with them, but the burden is not heavy. Garrel presents their grief as a fundamental part of their days, something that must be lived with in order to continue forwards.
The Verdict
The Plough is a small film, showcasing the simplicities of life whilst navigating its mundane struggles. It works because it’s not overdramatic, simply inviting the audience into the characters’ environment and letting them experience how it feels to perform. Nothing feels forced or out of place. Much like Pieter, the audience is welcomed into the family. You’re not watching them, but rather sitting alongside them at their table.
Words by Sarah Storer
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