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Kanun, the law of blood: death lurks in the new thriller from the director of Sons of Philadelphia – Actus Ciné

A year after the powerful “Sons of Philadelphia”, Jérémie Guez returns behind the camera with another thriller: “Kanun, the law of blood”, which returns to an Albanian tradition.

Writer, screenwriter and, more recently, director, Jérémie Guez has crime fiction in his blood. Whether he is writing the novel that will serve as the basis for Burn Out, collaborating on the screenplay for Black Box or directing Bluebird and Sons of Philadelphia, it is not very difficult to determine his preferred genre.

And it is not with Kanun, the law of blood, his third achievement, that this changes. A year and a half after Sons of Philadelphia (which, however, was presented at the Deauville festival in 2020 and its release was delayed due to closed rooms), the filmmaker left the United States and set up his cameras in Belgium. And more precisely within his Albanian community.

This is where Lorik (Waël Sersoub, already in Sons of Philadelphia) lives and offers his services to a mafia clan, he who fled his native land to escape a vendetta. As he yearns for a quieter life and a love affair, his past catches up with him in the form of a blood debt: a man whose father was killed by a relative demands his death, according to Kanun tradition.

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A term that the director and screenwriter, very young, heard in a report on the radio. And which goes hand in hand with his fascination for a nation that too often leaves the cinema off the screen: “There is a real Albanian community in the Benelux and Switzerland, but it’s a community we don’t talk about much.”he explained in the press kit. “The way genre cinema captures the Balkans is often very caricatured and it annoys me. I find these cultures and languages ​​very interesting. And the history of the whole former Yugoslavia has always fascinated me since adolescence.”

“Albania was the only fair area in the area during World War II. For example, it is a nation that hid and protected many Jews. The country is also predominantly Muslim…: it is a culture that I love and am curious about . about. The ‘canun’ is like a civil law book in the country. Revenge is only three or four pages of this code. And what is the starting point of the story of my film does not represent the traditional ‘canun’. It is the mafia extrapolation of a meticulous civil code…”

What would Hongkongers from the 80s or 90s do if they were filming Northern Europe?

An extrapolation considered a meeting a priori unlikely on paper: “The influence was to say to yourself: what would Hongkongers from the 80s or 90s do if they were filming Northern Europe? We should not reproduce, but adapt their way of thinking. When the frame really moves, it ends up being very little ‘shoulder camera’, but rather a hip camera.”

Enough to support the sense of urgency that lives in the new thriller by Jérémie Guez, in theaters this Wednesday, December 7, and where death lurks. Wait for the next one.

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