'Le Havre': Festival darling Aki Kaurismäki makes issues of French immigration accessible

A woman in a hospital asks her doctor, “Is there no hope?” The doctor replies, “Miracles do happen,” to which she rebukes, “Not in my neighborhood.” An ominous statement for a soberly optimistic work—“Le Havre.”

This film is the latest from Finnish writer-director Aki Kaurismäki. As one of the 27 selected films at the 49th annual New York Film Festival,“Le Havre” is scheduled to screen on Sunday, Oct. 2, Monday, Oct. 3, and Wednesday, Oct. 5 at the festival before it opens on Friday, Oct. 21 at Lincoln Plaza Cinemas and the IFC Center.

Hope and compassion serve as central themes in “Le Havre,” named for the French port city in which the film takes place. French actor André Wilms reprises his role from Kaurismäki’s first French-language film, “La Vie de Bohème,” as Marcel Marx. The former bohemian now lives a quiet, married life as a shoe shiner in the quaint port town. But his routine is rocked when his wife, Arletty (Kati Outinen) starts receiving treatment for what he thinks is a benign tumor, and at the same time, he meets a young African refugee Idrissa (Blondin Miguel) hoping to reach London.

Kaurismäki notably employs a diverse range of music. Real-life classic rocker and Le Havre native Little Bob (Roberto Piazza) plays a full song straight to the camera during a scene at a benefit concert. Music playing both on and off camera suggests emotion that the characters often find difficult to express.

Nonetheless, the characters’ rigid mannerisms lighten the film’s oft-serious situations. Idrissa bonds with Marcel’s dog Laïka, along the lines of cutesy comedy archetypes. The film noir-esque criminal investigator, Monet (Jean-Pierre Darroussin), is clad in all black—an amusing juxtaposition to the colorful, bright town.

In what could be a somber scene where Marcel demands to see Idrissa’s grandfather in a refugee center (which is more like a prison), Marcel proclaims he is a family member of the old man. When the warden gives him an incredulous look, Marcel states he is the family albino. Straight-faced comedic elements add a quirky tone to each scene, some of which are filled with tragic consequences.

Yet the film is no slapstick comedy. Musing on issues surrounding immigration into France and Europe in general, the film is inherently political. A free-spirited bohemian at his core, Marcel is determined to reunite Idrissa with his family. He befriends immigrants and refugees of all backgrounds as he learns of their journeys and struggles with identity in a foreign country.

A French film centering on the controversial topic of immigration, “Le Havre” may not seem an attractive option for moviegoers used to American films. But the film’s off beat, unconventional vibe makes it accessible and, more importantly, enjoyable for all audiences.