At first glance, the main character in Robin Campillo and Laurent Cantet’s film titled Enzo appears to be an ordinary teenager. He is good-looking, physically fit, generally sociable, yet also reserved, obstinate, and somewhat impulsive. This boy prefers solitude but craves connections, particularly beyond his family circle.
It’s possible that Enzo (rising talent Eloy Pohu) might appear somewhat ordinary to some viewers, which could be why this understated French drama seems a bit aimless at times. However, beneath the surface lies a significant amount of turmoil in Enzo’s life. He’s engaged in a covert struggle against his upper-class parents (Pierfrancesco Favino and Elodie Bouchez), resisting the conventional academic path that his elder brother (Nathan Japy) has navigated successfully. Additionally, he’s challenging the heterosexuality he was brought up with, developing feelings for an older Ukrainian bricklayer named Vlad (Maksym Slivinskyi), whom he encounters at a construction site.
The movie was directed by Campillo when Cantet became ill before filming (he passed away a year ago), and it carries the essence of both directors, although it doesn’t quite captivate like their finest pieces did. Similarly to its main character, Enzo appears to be frantically seeking something or someone to hold onto, fully aware that such things can vanish just as quickly.
Throughout their professional journey, Campillo has collaborated with Cantet as both co-writer and editor on several films such as “Time Out”, “Going South” and the Palme d’Or winner “The Class”. Later, he ventured into directing his own movies, gaining international recognition in 2017 with his AIDS-era drama “BPM“, which bagged Cannes’ Grand Prix and was a success at the French box office.
As a gamer, I appreciate directors who prioritize character development over plot twists, crafting narratives around complex individuals with desires, fears, flaws, and contradictions. These characters often seem more like real people than mere movie figures, such as Enzo, a troubled soul living in a beautiful Côte d’Azur town. He spends part of his week at a vocational school there, while also serving as an apprentice on the construction site of an upscale private home for a few days each week.
Initially, we encounter him during the workday, displaying little enthusiasm or dedication as he casually constructs a shoddy wall using bricks. It’s surprising when Philippe Petit, Enzo’s boss, drives him home to discuss his poor attitude with his parents, revealing that this teenager resides in an opulent modern villa with panoramic sea views – a residence strikingly similar to the one they’ve been laboring on.
In truth, Enzo is a wealthy youth who, for unspoken reasons, prefers the manual labor of his colleagues to the intellectual pursuits of his family, which includes a demanding yet loving father who specializes in math. “I don’t wish to learn,” he admits at one point. “I’m not an artist,” he tells his mother later on, despite possessing an apparent talent for drawing, adorning his walls with intricate sketches.
Similar to many teenagers, Enzo is uncertain about his future plans, but he’s clear about what he wants to avoid: living a life similar to that of his parents and brother, despite their apparent happiness and stability. Instead, he finds himself drawn to the lifestyles of Vlad and Miroslav, two Ukrainians who are making do financially while temporarily avoiding the ongoing conflict in their homeland.
As I find myself increasingly drawn to Vlad’s company, it becomes evident – even to me – that a love story is unfolding between us. This unexpected development occurs despite the fact that we both present as straight individuals. Vlad frequently displays pictures of his female companions on his phone, while Enzo brings along his high-school girlfriend (Malou Khebzi) for our shared skinny dipping adventures at home.
In the movie, the directors intentionally leave Enzo’s growing sexuality and future aspirations unclear, reflecting their desire to avoid limiting their young protagonist. This mirrors how many kids at that age explore themselves, allowing Enzo to find his own path. The portrayal of adolescence is remarkably truthful but not always engaging as a narrative. As a result, the movie lacks the emotional impact needed, despite leaving us curious about where Enzo might end up next.
In every project, Campillo skillfully extracts powerful acting from a diverse ensemble of both seasoned and novice performers. Veteran actors Bouchez (from ‘Wild Reeds’) and Favino (‘Nostalgia’) portray worried parents who may not grasp their son’s struggles or the social pressures he faces, but they shower him with as much affection as they can. Slivinskyi, a genuine construction worker like his on-screen character, exudes a gentle charm while harboring a certain shadowy depth within.
Ultimately, the young character Pohu becomes relatable as he grapples with feelings that resonate deeply with many of us at his age. This is encapsulated by a quote from Enzo in the movie, echoing lyrics from Radiohead’s famous teenage anthem “Creep”: “I don’t fit in here.
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2025-05-14 11:24