Director:Â Andrew Steggall
Cast: Juliet Stevenson,  Alex Lawther,  Phénix Brossard,  Finbar Lynch,  Niamh Cusack,  Patrice Juiff
Rating:
Running Time:Â 108 mins
Release Date:Â 20/05/2016
Sometime during the course of DEPARTURE, a hand-written note with the following phrase can be seen on a wall amidst a collage of memories:
“A heart that beats is both a siphon and a reservoir.”
DEPARTURE certainly is a film that beats to a very passionate drum. Part coming-of-age drama, part marriage-in-crisis analysis, it also confirms Juliet Stevenson as one of the most consistently versatile working actresses, albeit more in a theatrical context rather than cinematic.
There is much to appreciate with what is on show here. Stevenson plays Beatrice, a mother who arrives at the family holiday home in the South of France during the process of a sale that confirms the end of her marriage to her husband Philip (Finbar Lynch) who is to follow shortly. She brings her emotional son Elliot (Alex Lawther) along, but pretty soon his attention is diverted by the demeanour of fellow tourist boy Clement (Phenix Brossard), not least in a developing attraction that in part tries to hide the pain of his parent’s imminent split.
DEPARTURE certainly encompasses many layers of human emotional drama, both in terms of subtext and subtlety. There is a respectful appreciation of cultural clashes as well, with some of the awkward exchanges that one does encounter when trying to develop your linguistic skill in a different country. However, the key to the film’s strength is the interpretation of the different characters when it comes to the simple ideals and beliefs that provide a complex mindset in the arena of love.
Elliot’s desire and developing attraction for Clement is also one of the plusses of DEPARTURE, showing a tenderness and honesty. Stevenson is very affecting in the role of Beatrice, investing much of her wealth of theatre and film experience (harking back to the likes of TRULY, MADLY, DEEPLY opposite the late, great Alan Rickman, and directed by the late (and equally great) Anthony Minghella.
I am optimistic of this film’s chances in that its multiple levels of relationships, coupled with its gradual build towards a very touching climax, will appeal to cinema-goers looking for deeper subtext and meaning.
Verdict
