THE STORY – The story of Jean Moulin, a French civil servant and resistant who succeeded in unifying the main networks of the French Resistance in World War II, and who served as the first President of the National Council of the Resistance during the German occupation of France.
THE CAST – Gilles Lellouche, Lars Eidinger, Louise Bourgoin, Félix Lefebvre & Marcin Czarnik
THE TEAM – László Nemes (Director) & Olivier Demangel (Writer)
THE RUNNING TIME – 128 Minutes
One of several World War II-set films screening at Cannes this year, Hungarian filmmaker László Nemes’ “Moulin” follows the harrowing scenes of 1943 France under the German occupation. From the moment “Moulin” begins, haunting archival footage sets a precedent for the confronting dramatizations we are about to witness. Set in the days leading up to French Resistance hero Jean Moulin’s death, the film uses thriller elements to craft an effectively unnerving atmosphere, but it is a narratively uneven drama. Though the film stumbles in writing and pacing, it excels through excellent performances and committed direction. Following such features as “Orphan,” “Sunset,” and “Son of Soul” (for which he won the Grand Prix), Nemes continues to explore centuries-spanning European conflict. The film focuses intently on the titular character’s bravery and fight against fascism.
“Moulin” follows French civil servant Jean Moulin (an astounding Gilles Lellouche) in his attempts to unify the forces of the Secret Army in the occupied North and unoccupied South. To coordinate the liberation of his country, Moulin adopts the alias of an interior decorator, Jacques Martel. The cover story for Jacques involves attending a doctor’s appointment and a meeting with the Comtesse de Forez (Louise Bourgoin) to decorate her new home. As Moulin makes every attempt to maintain the carefully crafted web of Jacques’ persona, his efforts fall under the terrifying gaze of Klaus Barbie (an insanely unnerving Lars Eidinger), head of the Gestapo in Lyon. Klaus targets and interrogates Jacques relentlessly until the persona slips away, leading to the arrest and torture of Moulin.
Written by Olivier Demangel, “Moulin” takes narrative liberties to reimagine the last several days of Moulin’s life, building a concentrated work of fiction around historical events while expanding on the character’s interior world. For those unfamiliar with Moulin as a figure in French history, this film offers a compelling interpretation of his personhood while maintaining deliberate restraint. He represents a life of solitude and sacrifice, moving through a world of constant surveillance and moral threats to everything he stands for. To the film’s credit, Demangel’s writing deliberately avoids some of the trappings of typical historical biopics, such as interspersing childhood upbringings and flashback sequences. It’s a film that immerses you in one definitive chapter of Moulin’s life, in which he embodies the conflict between a humanistic and an anti-humanist view of the world.
The film’s nihilistic environment, from interrogation rooms and prison cells to torture chambers, gradually and viscerally closes in on Moulin’s tragic fate. Nemes creates an inescapable environment of liminal spaces and an invisible, menacing energy that permeates the air long before we physically see the threats unfold. Shot on 35mm film, “Moulin” demonstrates a masterfully crafted atmosphere and evokes the 1940s period piece through the work of Nemes’ longtime cinematographer, Matyas Erdély. The film is an extremely tough watch, but there is also plenty to admire, from an artistic standpoint, in how Erdély and Nemes capture the setting and tone.
Between the immersive screenplay and controlled direction, Gilles Lellouche is given a strong platform to explore the character of Moulin beyond historical and political definitions. Lellouche excels at revealing a complex human being underneath, filled with paranoia and driven by his resilience. He embodies a somewhat enigmatic presence as he navigates his surroundings, while also strongly indicating the moral compass that guides his spirit throughout. We gradually uncover the intricacies of his alias, which effectively sustains a suspenseful narrative momentum. Lellouche’s engaging, wholly committed performance is integral to the film’s effectiveness. It’s a fascinating, unforgettable portrayal from a consummate professional.
There is an unwavering focus on confrontations between Moulin and Klaus, which unfold through a series of increasingly horrific sequences designed to make Moulin speak and push him over the edge of composure. Lellouche plays this dynamic opposite Lars Eidinger, whose presence alone makes for a chilling watch. Eidinger’s performance as Nazi officer Klaus, also known as the Butcher of Lyon, plays the extremities of this character with menacing subtlety and an unsettling amount of control. Some of the most impactful scenes arrive in moments of deep character observation, as he dissects Moulin’s mannerisms and choice of words during the early interrogation scenes.
While the core confrontational narrative of “Moulin” is impactful, many of the surrounding character and plot developments fall flat, namely the relationship between Jacques/Moulin and the Comtesse de Forez. Despite an intriguing film noir element to their scenes, the depiction of their dynamic feels repetitive in service to the story. Additionally, the inclusion of Moulin’s cellmate Martin (Félix Lefebvre) becomes monotonous in its presentation and writing. However, as a work of historical fiction, the film strikes a resonant chord. Bleak in its relevance today, it’s an intense watch made compelling by an extraordinary lead performance at the center.
