When we meet Julia (Julie Ledru), this feral loner demonstrates her predatory nature by conning a hapless seller out of his motorcycle. But when she crashes a local “rodeo”—a high-octane, higher testosterone underground motocross circuit where brash bikers one-up one another—it’s apparent that she’ll need to raise her game all the more. After employing her guile to tenuously insinuate herself in this cut-throat clique, she must deliver something showstopping if she’s to stick around. As it so happens, she has an idea for an audacious heist.
Ledru brings a gunslinger’s bearing to Lola Quivoron’s adrenaline-charged film, which is shot in Western-indebted CinemaScope by Raphaël Vandenbussche. Drawing from childhood memories of illicit motocross competitions in her Paris suburb, Quivoron captures both the exhilaration and peril associated with these machines when their full power is unleashed. And while Rodeo boasts tour-de-force stuntwork, its character dynamics are equally transfixing: Julia has entered a world in which every encounter is as perilous as hairpin turn.
“Coup de coeur” Prize, Cannes 2022 (Un Certain Regard)
Q&A Oct 4 & Oct 6
Supported by
Media Partner
Lola Quivoron
Julie Ledru, Yanis Lafki, Antonia Buresi, Cody Schroeder, Louis Sotton, Junior Correia
France
2022
In French with English subtitles
Book Tickets
Missing VIFF? Check out what's playing at the VIFF Centre
The Doll
In our new Film Studies series on Thursdays, Devan Scott guides us through the evolution of lighting techniques from the silent era to the present day. Each presentation will include a classic film screening; this week, The Doll (1919).
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Filmmaker Eleanor Mortimer tags along with a team of oceanographers and marine biologists as they survey the Clarion-Clipperton fracture, one of the most remote spots on Earth, home to a dazzling array of unknown creatures.
Two Strangers Trying Not to Kill Each Other
This intimate and candid film by a younger husband and wife artist team is a delicate and immensely moving dual portrait of two artists, husband and wife, together and apart, at that point in life when the end casts a shadow over even the sunniest day.
Image: © Manon et Jacob and Final Cut For Real
Do You Love Me
Lana Daher's bravura and defiant non-fiction film is a cultural-historical self-portrait of Beirut, comprised entirely of film clips (many of them from dramatic features, but also from news reports, TV and home video) culled from the last 70 years.
Credits
Producer
Charles Gillibert
Screenwriter
Lola Quivoron, Antonia Buresi
Cinematography
Raphaël Vandenbussche
Editor
Rafael Torres Calderon
Production Design
Gabrielle Desjean
Original Music
Kelman Duran