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French-language Road CinemaBorders, Diasporas, Migration and 'New Europe'$
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Michael Gott

Print publication date: 2016

Print ISBN-13: 9780748698677

Published to Edinburgh Scholarship Online: January 2018

DOI: 10.3366/edinburgh/9780748698677.001.0001

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The End of the Road? Dark Routes and Urban Passageways

The End of the Road? Dark Routes and Urban Passageways

(p.148) 5. The End of the Road? Dark Routes and Urban Passageways
French-language Road Cinema

Michael Gott

Edinburgh University Press

Chapter 5 changes directions to consider the flip side of the European mobility boom. The chapter analyses three films whose protagonists are migrants from beyond the European Union: Hope (Boris Lojkine, 2014, France), Illégal (Olivier Masset-Depasse, 2010, Belgium/France/Luxembourg) and Marussia (Eva Pervolovici, 2012, France/Russia). It argues that these films – even when they narrate the lives of protagonists already in Europe – are filmed as road movies or continuations thereof. In earlier chapters it was argued that road cinema is defined first and foremost by an emphasis on ‘travelling shots’. This chapter considers how the generally panoramic vantage points of road cinema are represented in migrant road films, in which travellers are often granted solely or primarily limited viewpoints and sightlines.

Keywords:   French road cinema, Belgian cinema, Migrant cinema, Refugees and Migrants, European border policy, Cinematography (tracking shots and movement)

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