The Worst Ones (2023 | France | 99 minutes | Lise Akoka, Romane Gueret)
In an attempt at authenticity in his new film, the director, Gabriel (Johan Heldenbergh), seeks out youth from a housing project in a rural suburb in France. One young boy, Ryan (Timéo Mahaut), is the focus of the film and while he creates the mystique and gritty character they’re looking for, he’s already neglected by an unstable mother, having trouble in school and barely hanging on by the merciful love of his older sister. Meanwhile, Lily (Mallory Wanecque) who plays his older sister in the film, just wants attention that isn’t based on an unfair reputation with boys. A crush on one of the older crew members leads down a road neither one should be headed. With an impatient director, an inexperienced (but well-meaning and genuinely kind) PA, things go haywire quickly. Add in a teen with toxic masculinity offered a role in a sex scene with Lily and there’s bound to be trauma and drama on and off set.
All too often in the history of filmmaking, vulnerable groups have been taken advantage of. Intriguing as it might be to a director or the intended audience, creating a film by exploiting the financially, emotionally or physically neglected is a crappy way to go about it. It creates something inauthentic and hurtful to those the art is supposedly supposed to elevate. The Worst Ones opens the curtain to the backstage as a way to explore how art can harm when we’re not mindful of our actions and the real intention of a creation. It was obvious Gabriel, while trying to create something “real” wasn’t at all interested in the safety or security of the kids he was using, and using is the right word here. Thankfully there were other folks on the set who had their best interest at heart, but it felt almost cruel at times. I appreciated the adventure into meta-ville of a film within a film and how it challenges not only directors and filmmakers but anyone exploiting a community that isn’t their own to create something meant for public consumption.
What really captured my attention was young Timéo. It seems every year I am blown away by one or two newcomers (ie Eden Dambrine in last year’s Close), but rarely does it happen so early in the year. I was absolutely floored by his performance, how in the moment he was, and how well he played off his fellow actors. I have no idea how, at such a young age, he was able to emote with such intensity and realness. Despite being a long way off, I genuinely hope this is up for Oscar consideration at the very least for foreign film.
The Worst Ones is now available for streaming on KinoNow