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On this page: BAMBI: A TALE OF LIFE IN THE WOODS | THE MUSICIANS | YOUNG HEARTS

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See also: SHADOWS FILM FESTIVAL | Last update 4.Aug.25

Bambi: A Tale of Life in the Woods Bambi, l’Histoire d’une Vie Dans les Bois
Review by Rich Cline | 3.5/5

dir-scr Michel Fessler
prd Reginald de Guillebon, Marion Delord, Stephane Milliere
narr Mylene Farmer
release Fr 16.Oct.24,
UK 15.Aug.25
24/France 1h18

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Based on Felix Salten's classic 1923 novel, this film uses eye-catching nature cinematography by Daniel Meyer, which refreshingly avoids the usual problem of anthropomorphised photo-realistic animation. Narrator Mylene Farmer guides the audience through the story, creating characters out of the various woodland critters. All of this is finely assembled by director Michel Fessler in a way that's resolutely child-friendly, and the documentary approach is also intriguing for grown-ups.

As newborn deer, Bambi takes his first steps in the summery forest. Soon, he encounters various animals and learns about the perils that lurk in the undergrowth. He sticks close to his mother for protection as he begins to use his sharp sight, hearing and smell to pay attention to his environment. He also finds a special friend. Part of a large extended deer family, Bambi is discovering how all woodland creatures are interconnected. And he also learns that humans living nearby are the biggest danger, with their traps and fires, fences and roads.

Jaunty, sometimes over-expressive music by Laurent Perez Del Mar accompanies scenes that are skilfully edited, juxtaposing real animals to create understated characters and plotlines. Bambi's education includes a friendly crow, slithering snake, cheeky raccoon, hungry wolf and snorting boars, plus bees, butterflies and more. A cute rabbit is stalked by a massive eagle before becoming one of Bambi's regular companions.

Bambi also has some adventures with a fellow fawn who becomes something of a romantic interest. Together, they encounter humans and domesticated animals in a variety of situations. Through all of this he is watched over by his protective mother and imperious father, who uses his enormous antlers to battle other males for "the favours of a doe". As the story progresses, Bambi grows up and the seasons change. He also has a woozy trip after eating some healing moss.

Fessler's naturalistic storytelling approach is both ambitious and impressive, combining Salten's 100-year-old tale of biodiversity with documentary details. Although there are shots along the way that look suspiciously doctored to ramp up the drama. Thankfully, the voiceover is restrained, never over-egging a situation or creating human personalities for these animals. In the final act, the story takes a couple of two-year jumps to depict the circle of life. Yes, it's rather tidy and sweet.

themes, suspense 7.Aug.25

The Musicians Les Musiciens
Review by Rich Cline | 3.5/5

The Musicians
dir-scr Gregory Magne
prd Pierre-Louis Garnon, Frederic Jouve
with Valerie Donzelli, Frederic Pierrot, Mathieu Spinosi, Emma Ravier, Daniel Garlitsky, Marie Vialle, Nicolas Bridet, Francois Ettori, Valentin Pradier, Fred Scotlande, Gregory Montel, Marion Henin
release Fr 7.May.25,
US 8.Aug.25
25/France 1h42

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From France, this gentle comedy explores the clashing egos of top-tier artists as they try to work together on something extraordinary. With real musicians in the key roles, and a terrific collection of central characters, writer-director Gregory Magne creates a warmly involving film that's constructed like a symphony to rise and fall with musical beats. And it's thrilling to see a concert come together like this.

After finally purchasing a rare cello for a vast sum of cash, Astrid (Donzelli) wants to realise her late father's dream, hiring musicians to play on all four 300-year-old Stradivarius instruments. This is a quartet no one has ever heard, including Stradivari himself. So Astrid brings the country's top musicians together at her country house: concertmaster violinist Georges (Spinosi), violist Apolline (Ravier), violinist Peter (Garlitsky) and cellist Lise (Vialle). But their egos clash and old feuds are reignited. So Astrid reaches out to Charlie (Pierrot), composer of the specially commissioned piece they will be playing.

Astrid is under pressure from her brother (Bridet) and the family firm to make back the millions she has spent assembling this quartet. But she understands that these are artists who can't be pushed. And she respects her father's wishes for this performance to be done in the right way. But it's not talented musicians that make a great ensemble, it's the ability to play as one, with balance and precision. So there's a superb moment when they begin to improvise, as if they are cracking a code.

Even with the low-key, understated performances, these are prickly, intriguing characters. Donzelli's likably nervous Astrid knows when to take a step back, but is fully aware of what's at stake here. Pierrot's soft-spoken Charlie commands respect but doesn't want to be a referee for four musicians who can't stand each other. Each emerges with his or her own issues and motivations. So even if they're annoying, they're also sympathetic. When they drop the attitude, their talent is dazzling.

The issue here is that these four musicians don't hear or experience music in the same way. And of course, as he listens to his piece, Charlie wants to rewrite it. But it's the human connections and disconnections between these characters that make the film both entertaining and compelling. The demands of the film's plot may sometimes feel rather formulaic, but there things going on throughout the story that hold the interest and get us thinking.

themes, language 4.Aug.25

Young Hearts
Review by Rich Cline | 4/5

dir-scr Anthony Schatteman
prd Xavier Rombaut
with Lou Goossens, Marius De Saeger, Geert Van Rampelberg, Emilie De Roo, Dirk van Dijck, Saar Rogiers, Jul Goossens, Ezra Van Dongen, Olivier Englebert, Olga De Saeger, Wim Opbrouck, Florence Hebbelynck
release Bel 18.Dec.24, US May.24 siff, UK 8.Aug.25
24/Belgium 1h39

BERLIN FILM FEST

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Set in rural Belgium, this drama has a warm, sunny vibe as it follows two teens on a charming voyage of self-discovery. Writer-director Anthony Schatteman takes a sensitive, earthy approach, keeping an emotional story grounded within the youthful perspective of that first unexpected spark of genuine attraction. Even more than that, the film goes on to explore the erosive nature of endemic homophobia even in outwardly accepting societies.

Hanging out with his girlfriend Valerie (Rogiers), young teen Elias (Goossens) is enjoying the fact that his father (Van Rampelberg) has a summer hit with his song First Love, although others make fun of it. Then new classmate Alexander (De Saeger) moves in across the street. Introducing Alexander to country life, Elias is intrigued that he had a boyfriend back in Brussels. Meanwhile, Alexander helps Elias cope with being bullied by a group of seniors. But Elias' mother (De Roo) notices that he has become withdrawn. Indeed, navigating this situation is both terrifying and thrilling.

Elias and Alexander's first kiss is a sweetly spontaneous moment, but it sparks fear as Elias worries about what others will think. Alexander's reaction also confuses him, as does Valerie's, exacerbated by teasing from his big brother Maxime (Goossens' real-life brother Jul). By contrast, an escape to Brussels with Alexander is a high point. But Alexander can't understand why Elias is so afraid to be himself. "I just wish I could disappear," Elias tells his grandfather (van Dijck), who quietly allows him to express whatever he's feeling.

With his expressive face and bright blue eyes, Goossens is easy to identify with as he closely watches everyone around him, picking up new clues as he struggles to react to various situations. The connection between Elias and De Saeger's more freely open-minded Alexander is innocent and engaging, realistically drawing Elias out of his shell. These young actors also beautifully play their more intense scenes together in which darker attitudes emerge, forcing a reckoning.

Elias is frightened that someone will make nasty comments about him if he's seen to have a boyfriend, but Alexander encourages him to stop worrying about what others think. Having been through this before, Alexander refuses to apologies for who he is. The subtle bigotry Elias senses around him isn't necessarily cruel, but it's still thoughtless and hurtful. And he is terrified to see it inside himself as well. But he's beginning to understand that his love for Alexander should be celebrated, not feared.

themes, language, violence 31.Jul.25

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