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Red Island, the latest film by Robin Campillo, beautifully captures the director’s own childhood in Madagascar as a “army brat” according to Anglo-Saxon terminology. His father, a soldier, was stationed on the island during its early days of independence from French rule. The 10-year-old had the freedom to explore the lush and stunning environment, but was also exposed to the sexual behaviors of the adults, their bittersweet sadness as they faced leaving this paradise, and the growing anti-colonial sentiments among the native people. The boy’s experience is reminiscent of young Jim in JG Ballard’s Empire of the Sun (portrayed by Christian Bale in Spielberg’s film adaptation), who roamed with complete freedom in wartime Shanghai under occupation – but in this case, with more sunlight and a strong element of sensuality.
When I encounter Campillo at Curzon’s London offices, where his UK distributor is located, he exudes an energetic and athletic presence with a hint of youthful innocence, despite his close-cropped grey hair. His enthusiasm and vitality are evident as he eagerly discusses his film, as well as his overall career and achievements thus far.
He has been a significant figure in both French and global film industry for a while, serving as an editor and screenwriter for director Laurent Cantet’s works such as Time Out and the Cannes Palme d’Or recipient, The Class. He has also directed his own movies. He successfully transformed his popular neo-zombie movie, They Came Back, into a successful streaming series for French television. Furthermore, his emotional drama Eastern Boys received a César nomination and won an award at the Venice Film Festival.
In 2017, his intense 120 BPM (Beats Per Minute) stood out, drawing from his own personal experiences as a homosexual man in 1980s Paris and his involvement with Act Up, an activist organization fighting for action on Aids. This film was highly praised by Pedro Almodóvar at Cannes and earned rave reviews from Barry Jenkins on social media. Presently, he has embraced his memories and is delving into his own past once again.
I inform him that the films Red Island and 120 BPM demonstrate his central idea of freedom, including its various aspects such as opportunities and obligations, joys and sorrows. He somewhat agrees. He reflects, “During my time in Act Up and Madagascar, I didn’t view those experiences through a cinematic lens. However, when I think back to Madagascar, I can vividly recall every detail. This is when my journey as a director began, although I wasn’t aware of it at the time. It took me five decades to truly understand it.”
He states being intrigued by the process of change, where the previous way of life transforms into a newer one. In his film, “120 BPM”, he depicted the 1980s as a period where homosexual men were fearful of the emerging epidemic, but the organization Act Up played a crucial role in bringing about a new era where they refused to be viewed as victims, despite the disease and the silence surrounding it. Similarly, in “Red Island”, the focus is on the calm and privileged French colonial rule of the 1960s making way for the rising independence movement in the 1970s.
As a child, he experienced a complex sense of French identity. He was born in Morocco during a time of colonial rule, surrounded by a strong French influence within his family. However, he also felt apprehensive about the idea of living in France due to the fear of being seen as poor. This feeling was not present in Morocco. At the age of four, his family departed from Morocco and briefly lived in Metz, Lorraine, a dismal and cold place that made them acutely aware of their financial struggles. They then relocated to Algeria, where his father was involved in the transport of France’s nuclear weapons, before eventually settling in Madagascar. To him, it felt like a dream.
He expresses that the experience was a fantasy constructed by adults who were unable to explain the situation to him. To him, it was genuine joy, but the adults exaggeratedly portrayed it as a fairy tale, similar to Sesame Street on television. However, behind this illusion, there were always military men disguised in camouflage. Campillo refers to a notion by Gilles Deleuze regarding being stuck in someone else’s dream. The Malagasy people of Madagascar were also imprisoned in the French imperial dream.
The movie exposes the prejudice and double standards surrounding sexual relationships on the island. It was acceptable for soldiers to go to the brothel and engage with local women, but the thought of actually developing emotions for one was met with horror. A particularly powerful scene showcases a French officer seeking an exorcism from a priest due to this issue. This was based on true events, according to Campillo, who learned about it through his research for the film: “My parents discussed about soldiers who were entranced by the local women. They mentioned enchanted love potions. But it was ultimately a matter of race, a figment of imagination.”
According to Robin, the entire system was demeaning and degrading. He views Thomas as a minor character in the story, and Colette’s role as a mother figure is limited, similar to her husband Robert, who is also seen as childish compared to his general and the French colonists who view the Malagasy as mere children. In the film and reality, Thomas (Robin) had a close friend named Suzanne (Nicole in real life), a young girl of his own age who accompanied him everywhere. When they were forced to leave Madagascar, it was a heart-wrenching experience and marked the end of their childhood.
Was the filmmaker disappointed that his highly acclaimed previous work at Cannes did not earn a spot at this year’s festival for his new film Red Island, which is also receiving positive reviews? Campillo chuckles and admits he can never know the thoughts of the festival’s renowned director, Thierry Frémaux. He shares that he reached out to Frémaux to express his belief that the story of Madagascar, a forgotten aspect of French colonial history, deserves to be shared at Cannes. However, Frémaux simply responded that he had to make a decision. With a good-natured smile, Campillo acknowledges the realities of the festival while also congratulating his fellow filmmakers Catherine Corsini and Justine Triet on their Cannes success.
Currently, he is creating a science-fiction movie based on his 17-year-old daughter, envisioning her future at age 90. However, he is contemplating on casting either Charlotte Rampling, Susan Sarandon, or Emma Thompson. The idea of Emma Thompson portraying Campillo’s future daughter is certainly intriguing and not to be missed.
Source: theguardian.com
