ⓒ Le Monde
Gustave Kervern, renowned for his collaborations with Benoît Delépine, embarks on a solo journey with his latest film, “Je ne me laisserai plus faire.” This poignant television film, airing on Arte, marks a departure from his previous cinematic works, driven by personal experiences and the isolation of the COVID-19 pandemic.
The film delves into themes of revenge against abuse of power, drawing inspiration from Kervern’s own life and family history. A pivotal scene involving an impractical bathtub reflects a frustrating experience his elderly mother faced, highlighting the silence and fear that often accompany such situations. The narrative is infused with humor, a deliberate choice by Kervern to navigate sensitive issues with a delicate balance of pathos and levity.
Working independently allowed Kervern to meticulously craft the screenplay, revising it multiple times and even creating a storyboard – a departure from the improvisational approach he usually employs with Delépine. The director acknowledges the influence of the classic film “Thelma & Louise,” finding parallels in the narrative of female rebellion and the pursuit by authority figures. However, Kervern’s creation expands on this framework, introducing a compelling duo of flawed police officers, played by Anna Mouglalis and Raphaël Quenard, who represent the complexities and struggles within law enforcement.
The decision to create a television film rather than a theatrical release reflects Kervern’s desire to reach a wider audience while avoiding competition with his established cinematic partnerships. The director expresses his satisfaction with Arte’s decision to broadcast the film, and he suggests that the film’s unique blend of dark humor and serious themes would be difficult for other networks to embrace.
“Je ne me laisserai plus faire” is more than just a film; it’s a deeply personal exploration of frustration, regret, and the quiet acts of rebellion born from lived experiences. Its blend of humor and poignancy promises to resonate with viewers on a profound level, making it a significant addition to Kervern’s already impressive body of work.
