Rodeo, The debut of Lola Quivoran’s lively and captivating comedy fiction, ambitiously trying to put a lot of heart into a gang movie that quietly and organically turns into a hist thriller but doesn’t quite know how to turn these strands into a satisfying ending. While it promises all the elements of a cult crossover, and it gets very close to delivery, the destination titled Un Certain Regard is probably the festival circuit, where it must stand out as a different kind of conduct-of-passage movie.
Newcomer Julie Ledru plays Julia, who lives in a social dormitory with her brother and mother. Julia’s relationship with her mother is on the verge of filling and completely breaking up; He has a job, but his presence is sketchy. The only thing he’s passionate about is motocross, and since it’s a hobby he can’t afford, he pretends to be a buyer on Craigslist-style websites and tricks the owners into letting him take a test drive.
With such a stolen bike in her hand, she enters the underground world of “urban radio” – a balletic form of stunt riding involving motocross and quad bikes, usually of dubious origin – where outsiders are suspected and avoided, find Julia. Gets when he tries to ride a bike with the B-More gang. The riders keep turning towards him until he finds a friendly face like the revered old Abra, but the sound of an impending police raid disturbs and Abra is seriously injured in the ensuing confusion.
Picked up by Kais (Yannis Lafky), Julia is carefully admitted to the gang’s clubhouse / garage, an illegal chop shop where bikes are re-sprayed and given new license plates. Not everyone else is so welcoming, at least Manel (Jr. Korea) who is openly hostile, but persuades Julia Kais to stay in the garage overnight. His ability to rush is not uncommon, and Kayes introduces him to the shadowy boss of the gang, who runs an operation from a prison and gives Julia a new name: Stranger.
Julia acquires skills in this new foreign family, doing the day-to-day chores that bring her closer to the boss’s seemingly difficult but personally weak wife Opheli (Antonia Buresi), who lives with her ex-teenage son Killian. As part of the team, Julia unveils a plan she has been working on for months: a daring raid on a van carrying the entire consignment of bikes – while the vehicle is still in transit.
For its debut, Quivoran’s film is confidently confident, in the world of Greece and Gas it is getting dirty without being too fatigued or romanticized. Ledruo, an astonishingly commanding presence; Although her acting style comes from more or less school, which is not so effective in her more emotional scenes with Ophelia (Buresi does some very good, fine work here), it adds an extra ambiguity when it comes to second guessing about Julia’s true allegiance. .
After plotting, however, the film’s Achilles heel, and the foundation of an exciting petro-punk Riffy, Rodeo Takes a left-field turn with an ending that resurrects a confusing subplot and abandons realism altogether, creating a wild path to symbolism that short-circuits all our (high) expectations, leaving an unsatisfactory aftertaste. Yet, as a calling card, it is quite impressive, and proves that Quivoron can work with both the heart and the intestines. At the moment, though, not exactly in proportion.