L’hiver dernier (2011)

Directed by: John Shank | 103 minutes | drama | Actors: Vincent Rottiers, Anaïs Demoustier, Florence Loiret Caille, Aurore Clément, Michel Subor, Carlo Brandt

Lucky Luke may have the patent on the song, but twenties Johann in ‘L’hiver dernier’ is really one poor lonesome cowboy. Raised in and grown up with the French countryside where the farm of his father, grandfather, and his ancestors is located, he is capable of nothing more than performing the farming profession. He loves his herd of cows just as much as his beautiful girlfriend Julie (Anaïs Demoustier). With the latter he makes love silently and tenderly. Johann isn’t much of a talker at all, but fortunately for the viewer, the role of the inner fatter is played by the incomparable Vincent Rottiers, who knows how to conjure a range of emotions on his face. In the hands of this promising actor (he has already been nominated twice for a César in that category), Johann becomes a credible person with many nuances and deeper layers.

Johann, like so many farmers, is having a hard time: his farm is part of a cooperative, but unlike the other members, he resists change tooth and nail: wealthy landowner Hélier (Michel Subor) proposes to sell calves to Italy, albeit at a higher price, is resolutely disposed of by him. After a pretty devastating fire, the young farmer assumes that years of insurance premiums have not been paid for nothing, but an overzealous insurance expert throws a spanner in the works and Johann can whistle his money. Then there’s his mentally retarded sister Marie (Florence Loiret Caille), whom he’s eager to take care of, but that task is also growing beyond his head. The bills pile up and Johann becomes increasingly isolated, unable to get rid of the age-old rituals that shaped him.

The feature film debut of American John Shank, who lives in Belgium, is slow, dialogues are rare, but every millisecond of ‘L’hiver dernier’ is captivating. The camera work is self-assured and, in natural light and weather conditions, presents the French landscape as one of the main protagonists: at times sweet and inviting, at other times hard-hitting and unrelenting. The beautiful music by DAAU (Die Anarchistische Abendunterhaltung) enhances the emotional charge of the images, but is used so sparingly that it never feels manipulative. ‘L’hiver dernier’ will not appeal to everyone, but arthouse lovers who love observational and visually overwhelming films will love this drama. And especially remember the names Vincent Rottiers and John Shank: we will probably hear more of them.