As an actor turned director, Mélanie Laurent’s film ‘Freedom’ does not have any standout issues that stand out. However, the production has been greatly animated, the movements appear more than fine, and the key protagonists seem unbelievably well-matched with the locations. Such is not uncommon as it is said that for some film buffs that alone suffices, and as such the film can be viewed as appealing and decent from an entertainment perspective. The issue that arises with ‘Freedom’ is that it fails to illustrate the reasons behind Laurent’s idea of filming such a narrative, never really delving deep the way other films might. And that is a pity because on the surface it seems to have every aspect required to tell a captivating and intriguing tale but simply does not know how to intertwine them perfectly.
The movie centers around Bruno Sulak (Lucas Bravo), a French celebrity in the 1980s for all the bizarre reasons. This French gentleman thief was once seen parachuting, joined the foreign legion, and later went AWOL in a single swoop.
And, we see him with long-time friend Drago (Steve Tientchier), during his grocery store heist dressed up in a scarf and a beret standing next to his girlfriend Annie (Léa Luce Busato), waiting for him outside in a getaway car. Their POV’d character was so convincing that the officer investigating the robbery, George Moreas (Yvan Attal), had a hard time believing the store clerks when they spoke about what they saw during the robbery, even as they were adamant that the mugs of their robbers justified weird.
Bruno can rob upscale jewelry stores and he does not classify himself as a thief who seeks dishonestly wealth, rather he views his actions as a highlight of an adventure where he manages to escape in a heart-racing manner. The perspective he held allowed him to shift his focus towards the act of the crime itself which made it enjoyable for him, this is also a reason the smooth-sailing adventure captured him. During his disguise, a couple of times he was caught and spent some time gels, and as before he wasn’t able to remain patient in isolation and planned an escape.
Owing to this plan, Bruno was able to free his friend (Slimane Dazi) later, diving back into the pool of crimes. Touching on the most interesting parts of his life, Bruno in France managed to gain the title of a folk hero but considering the non-violet nature these crimes had showcased, his love interest, Annie constantly as for him to leave since he was free, bringing him to the crossroads of choosing either of two options where he can easily devise a plan along with his heiress.
“Freedom” may not narrate with the same level of intensity that recounts Sulak’s life or the nature of his crimes. The honest cop, Moreas, has a rather low opinion of Sulak, an endlessly self-assured survivor rather than a warm being. Moraes is rather forlorn when Sulak spends time locked up and during those moments he adores Annie, cunningly loyal, brave, and smart. To but thugs Only on very few occasions does Laurent come across as perplexed and that is when Luwak is brought to bear with the use of physical violence. Laurent’s videos are a hollow performance owing to his lack of depth. Laurent can expertly turn into a hallowed and emotionless piece due to their nature.
One more issue related to the movie is that I never quite considered that there was any real love between Bruno and Annie. Oh yes, they certainly seem to make a perfect couple when they laze on the beach or cuddle in bed. However, we never quite get a glimpse of what mechanism constructed them as a couple and what made Annie stay with him, as he goes on commissioning more and more dreadful deeds that make him notorious. So, when she finally does berate him first about what he would do, she realizes that while they were in Cannes for a vacation, he would try to rob a Cartier store, she in the end does not hold that much against him. To be blunt, the love and relationship between Bruno and chief pursuer Moreas, are more believable bearing in mind that Attal is glad to see it in a good light.
I understand why you would say “Freedom” is terrible, but in my opinion, it is not Often french director Laurent looks up to US smooth heist filmmakers of the 60-70s. This is why he features a rendition of the song ‘The Windmills of Your Mind’ which happens to be a song from the movie “The Thomas Crown Affair” or words he definitely focuses on the idea of the movie. In other words, the theme has an uncontested dynamism to it. But for the movie’s few moments that are based on things only a certain few espouse, it would be great some of the times to have playing in the background for other important work. Still, though, the movie suffers from the sameness too much to be of any good in these moments as there’s never a firm explanation as to why such a folk hero like Bruno Gross had ferried so many or rather why any of them would be interested in him now.
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