A Thousand Times Good Night

A Thousand Times Good Night / Tusen ganger god natt

(Fiction, Norvège, 2013, 111’, C, VOSTF)

de Erik Poppe
avec Nikolaj Coser-Waldau, Juliette Binoche, Maria Doyle Kennedy

Rebecca est photographe de guerre. Sa dernière mission à Kaboul a failli mal tourner. Son marie et ses enfants l’abjurent de ne plus se rendre en zone dangereuse. Elle accepte une nouvelle mission sans danger, dans un camp de réfugiés au Kenya et part avec sa fille de 13 ans.

Le titre du film vient de Roméo et Juliette et souligne les déchirements de la vie de globe-trotters.

« Le film se distingue des productions hollywoodiennes sur le même sujet, où le héros se doit de rester neutre ou pas devant l’injustice. Ici le spectateur est tellement impliqué dans le désir compulsif de l’héroïne d’enregistrer ce qu’elle voit, que, paradoxalement, l’action elle-même est moins marquée par la subjectivité. » variety.com

Entretien avec le réalisateur à Montreal

“I wanted to make a portrait of this life, in a way that photographers and journalists out there in the world would finally get a movie that’s blatantly honest about their work,” the Norwegian director said Thursday from London before boarding a flight for Montreal.

 “Their work is not just about being able to survive conflict, being out in a war zone; the hardest thing for them is to be able to survive mundane life back home,” said Poppe, who is 53 and married with two daughters. “It’s true for anyone else, too: the hardest thing is getting your home life right.” montrealgazette.com

“When violence unexpectedly erupts, Rebecca sends her daughter to safety but cannot personally tear herself away. In the ensuing melee, Rebecca ducks into a tent, sporadically popping up to take more photos, apparently oblivious to the danger as armed marauders methodically murder people in surrounding tents.  The fierce, angry desire, articulated earlier to her daughter, that drives her to force others to see what she sees, to care about what they can no longer avoid confronting, is here made physically manifest as Rebecca’s finger on the camera button acts in rhythmic response to the bursts of gunfire.

The film distinguishes itself from Hollywood-made photojournalist actioners like “Under Fire,” in which the movie pivots around the hero questioning his neutrality in the face of political injustice.  Here the viewer becomes so totally invested in the heroine’s compulsion to record what she witnesses that, paradoxically, the action itself seems less subjectively colored.

 Lenser John Christian Rosenlund, who collaborated with Poppe on the helmer’s previous gem, “Troubled Water,” lets bright Afghani and African landscapes and northern-lit Irish seascapes exist on the same color palette, underscoring Binoche’s one-world viewpoint.  Armand Amar’s score subtly builds tension.” Ronnie Sheib, variety.com