It is a performances centric movie

It's hard to see any effort in the film. There's no comedy to speak of, no real drama and, worst of all.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

Won the Palme d'Or at the 2015 Cannes Film Festival. About an ex Tamil Tiger who goes to France after the catastrophic defeat. He is accompanied by a woman & child who pretend to be his wife & daughter. He has to adopt a new identity as he was one of the few leaders to survive. In France after moving around he gets a job as a caretaker in a block of apartments in an estate run by drugs gangs. He just wants a peaceful life but comes into conflict with the drug dealers. The warrior within has to emerge once moreThe story has been done before, in many Westerns; Ken Loach has done it in Scotland but Jacques Audiard ("A Prophet") puts his own stamp on this interpretation of the old tale. Really moving. 9/10.

This was a wonderful film that depicts a experiences of a refugee 'family' as they try to establish a life in France. Oddly enough, the ending of this film has been highly criticized. IMO, the people who have criticized the ending perhaps have not carefully thought through the events leading up to that 'ending.' Dheepan's wife is held hostage and Dheepan goes to the rescue. He attacks a couple of gang members with a machete and then, using a confiscated gun, kills several more gang members on his way up to the top floor of the apartment building where his wife is being held. The building is still surrounded and controlled by violent gang members. Without much doubt, the police are on their way there, too. It seems that the only real 'ending' for Dheepan is either to be killed by gang members - after all, he's on the top floor with no logical escape route - OR - to be arrested by the police for murder. It's not even imaginable that he escaped that situation unscathed. It's even more unimaginable that he could have gotten out of there and then emigrated to England.The 'ending' then is not the real ending to Dheepan's story. His story obviously did not end well. The 'ending' tagged into the film is a dream - a dream of what might have been. The 'ending' is shot in warm, hazy tones, no one has aged or changed - It's a wish, a dream, a last fleeting thought.

If this film were from Eastwood or Bronson it would be said that it is shot but being French and Jacques Audiard, nothing happens. The film does not seem to me to be bad in essence, it is very credible, that is until the last fifteen minutes that the dialogue ends.It's a hard movie, if it is, it's credible. For me it's a bit repetitive. There comes a time when you do not know where you are going. I began to think about where I could go and to my surprise he headed down a surprising path. I do not want to say anything in order not to spoil the end, but it is precisely what makes me suspend it. I do not believe that end.Photography and camera are very normal. The mount also until you give by slow motion does not say anything and put the camera at the height of the feet, I imagine to disguise the effects.The actors are very good too, everyone. I do not know if they are all professionals or not but they are very good.In order that the script for my taste follows a way that surprised me since I thought I was seeing something social and I have seen some revenge.Spoiler: Now I do not know if someone is wondering if a person can pick up and steal a niece or little girl and that is fine and the worst thing is that it is not to save her, but to save herself. Above is thought to get rid of it.The end to the Charles Bronson, was shot and then the sequence of happiness. Great, how many people killed him? It does not matter? Or does it only matter if Eastwood does?

Greetings again from the darkness. Wars exist in many different forms. Some are over contested international boundaries, others are religious conflicts, while others are more personal and intimate. The stories of many refugees could be described as fleeing one type of war only to end up fighting a different kind. Such is the story of Dheepan.Jacques Audiard is one of the most exciting filmmakers working today. A Prophet (2009) and Rust and Bone (2012) are both compelling films, and though his latest may not be quite at that level, it's still full of intensity and personal drama. Mr. Audiard co-wrote the screenplay with Thomas Bidegain and Noe Dibre, and some of it is based on the remarkable real life story of lead actor Jesuthasan Antonythasan.Dheepan is a Tamli soldier who is so desperate to flee Sri Lanka that he teams with a woman and young girl he doesn't know to form what looks like a real family. By using passports of people killed during the war, the pre-fab family of three is issued visas to live in France. Dheepan gets a job as the caretaker for an apartment complex riddled with crime, violence and drugs – and learns to keep his mouth shut and eyes open.It's fascinating to watch these three people navigate their new life as they struggle with the language and a new culture. There are flashes of real family problems, but also the awkwardness of three whose only true bond is their escape from their previous life. Living in such close proximity means their true colors are bound to shine through no matter how much effort goes into the family façade.Jesuthasan Antonythasan (Dheepan) and Kalieaswari Srinivasan (as Yalini his wife) are both excellent and powerful in their roles despite being so inexperienced as actors. Their exchanges are believable, as is their disparate approach to the future. Ms. Srinivasan is especially strong in her scenes with local thug Brahim, played by Vincent Rottiers. The two have such an unusual connection … alternating between warm and frightening.Some have found fault with the final action sequence, but it's such a fitting turn of events given Dheepan's past … plus the camera work is outstanding. The film won the Palme d'Or at the 2015 Cannes Film Festival, and it's another notch in the belt of filmmaker Jacques Audiard. It's also a reminder that we can never really escape the past.