Welcome (2009)

When the Kurdish boy Bilal, on the run from war-torn Iraq, is caught trying to cross the border into Englad, he ends up stranding in Calais. Here he meets Simon(in the process of divorcing his wife), who is as taken aback by the 17-year-old's sheer determination to meet back up with his girlfriend, Mira, in London as we are, and agrees to teach him how to swim. Yes, this kid wants to cross the channel. This is about love, the criminalization of refugees and people fighting against seemingly impossible odds. I have yet to watch anything else by this director, but now I will be on the lookout for it. He correctly realizes that this story is powerful enough, and thus does not need any manipulation for us to be deeply affected by it. Everything in this is underplayed, merely showed, and it is absolutely heartbreaking. The music is minimal(that, or it was so subtle that I did not notice it most of the time) and subtle, with only a single use of a tense piece(and it was still not overbearing). Other than that, it consists of a soft, sad piano, a sort of "voice" to the helplessness of the situation. While the young couple are seldom granted even direct communication(it tends to be second-hand), we believe in their deep feelings for one another. The acting is excellent all the way, and the characters are well-written, and like everything else in this, credible. Granted, this only really shows one side to the argument... still, no one in this feels "evil". Another great thing, and one that also helps it be more removed from Hollywood, is that everyone speaks the language that makes sense for the situation. Their native tongue, or English if they're talking to someone who won't otherwise understand them. There is a little sensuality, moderate violence and disturbing content in this. I recommend this to everyone who can comprehend it(maybe no one under 11). 8/10

Fmovies: "I knew a boy who tried to swim across the lake, It's a hell of a thing to do, They say the lake is as big as the ocean, I wonder If he knew about it" (Yoko Ono,lyrics slightly modified)

Lioret is one of the most promising French directors .His "Je Vais Bien Ne T'En Fais Pas " deeply moved the crowds .His "welcome" is at least as good,as harrowing and as...pessimistic , noir as his precedent effort.

He chose the right actor as the lifeguard :Vincent Lindon was perhaps never better in his part of a disoriented man ,estranged from his wife , in search of the meaning of his life .With his weary face ,his disenchanted looks ,he seems to carry the weight of the world on his shoulders .Which he does ,in a way.

France ,par excellence the country of refuge (particularly political refugees),is shown in a less-than-flattering light than usual;on the other hand ,one can wonder whether the United Kingdom is really the promised land as it appears in the film.In Calais ,people who gave a shelter to illegal migrants were actually troubled by the Police .Although this is not a true story,all that happens to the lifeguard is credible.

Images of Police vans,of sad beaches ,of free meals ,of informers (the neighbor claims that Simon helps the young Kurd in return for sexual relations!)

The divorced hero has become a cliché;but Lioret makes brilliant use of the screenplay cliché: it's perhaps because Simon has become a lonely man that he takes in his young protégé (one should note he's got no children whereas he is in his fifties ).Simon is ready to give all: his reputation ("yes I'm a gay,I sleep with him ,and I sleep with guys that's why my wife walks out on me" ),his dear treasures (his gold medal:"I gave him" ),and maybe even his job .

To swim across the Channel to get to your girlfriend Mina is an impossible task when you are 17 and you're not a first class swimmer.It's the young man's dream and Simon makes his dream his.

"Welcome" is a great movie,one of the best French movies of the last ten years.

The seventeen year-old Iraqi-Kurdish Bilal (Firat Ayverdi) has crossed the Middle East and Europe trying to reach England to meet his girlfriend Mina (Derya Ayverdi) that lives with her family. However he is caught in Calais, France, and sent to a refugee camp. Meanwhile the swimming coach Simon Calmat (Vincent Lindon) is divorcing his wife Marion Calmat (Audrey Dana) and he meets Bilal that wants to have swimming classes with him. Soon Simon learns that Bilal wants to cross the English Channel to be with Mina and the love of Bilal affects him. Simon befriends the teenager and decides to help him. But France penalizes those who help illegal immigrants and a neighbor denounces Simon to the authorities.

"Welcome" is a French film with an emotional view of the illegal immigration, one of the greatest social problems of the century. We see on the news Mexican, Cuban and South American refugees trying to immigrate to the USA; Middle East and African refugee trying to immigrate to Europe; African, Central American mainly from Haiti and South American refugees coming to Brazil. In common, all these people expect to have a better life in the new country. But most of them do not have professional qualification and increase the legion of unemployed or subemployed and illegal workers in the new country.

The director Philippe Lioret brings a different and romantic approach to this problem, with a love story entwined with the sympathetic gesture of solidarity of a man that is needy since he is divorcing his beloved wife and is punished by the French laws for helping the immigrant. The beautiful story is heartbreaking; the performances are top-notch; and this movie introduced a debate in France about illegal immigration. My vote is eight.

Title (Brazil): "Bem-Vindo" ("Welcome")

Welcome fmovies. Rightly so, Lioret's film 'Welcome' confronts us with a changing Europe, from one which used to be tolerant to the less-fortunate into one dominated by fear, exclusion and self-righteousness. The anonymous setting of the port of Calais - exchangeable with Dover, Bari or Tarifa or any other border town in Europe – and the hauntingly introvert piano score add to the growing hostilities towards refugees in Europe. The two main characters are, each in their own way, equally tragic: Bilal, a 17-year-old refugee from Kurdistan, in desperately pursuing an impossible dream, and Simon, a disappointed middle-aged French swimming instructor, in not being able to cling onto that dream. The friendship and the actual drama begin when they first meet in a local pool. So far so good. Regrettably, and perhaps regrettably, Lioret diminishes the intensity of this relationship by wanting to provide too many answers to too many irrelevant questions. The result is that story lines, actions and ultimately even the characters become blurred and incredible, which is a great sorrow to inflict on a topic of this social magnitude. One only wishes a little more Dardenne-style type of filming in this film! The strength of 'Welcome' is that is requires us to reconsider to what extent we are willing to be human, social and forgiving towards 'the other' in an ever-harshening world. By examining the attitudes of the shop manager, the neighbour and the bureaucrat, we are eventually confronted with ourselves. 'Welcome' is certainly not an easy film but a highly desirable one.

Virtually all the reviews here are laudatory but something odd is noticed. The countries most concerned in this lugubrious depiction of the illegal migrant experience are France and England, yet there is not an English or French voice among the lavish praise!

Yes, it is easy to say national borders should be open and unrestricted, as long as it is some other nation whose borders are to be crossed.

Bilal is a seventeen year old boy from Mosul in Iraqi Kurdistan. He wants to go to England to be with Mina. Bilal also wants to work in England to earn money to send back to his family in Iraq. This will be good for his family, good perhaps for Iraq or the autonomous Kurdistan region. Not so good for Great Britain, of course, sending its wealth abroad, but Bilal doesn't care about that. Neither does the maker of this film.

In reaching France, Bilal has violated the laws of all the countries he has passed through but he doesn't care one whit for that. Neither does the maker of this film.

A proper treatment of the complex question of migration from the Third World to the First would try to balance individual stories with mass migration's effect overall. But this film has no pretension of impartiality. In focuses on the story of one migrant, his dreams and many travails, and gives no consideration at all to whether England, France or the innocent townsfolk of Calais are required or even prepared to receive thousands of penniless migrants who have no desire to assimilate into Western societies.

After watching this movie in an almost desert movie theatre I was overwhelmed by sadness, but after reflecting upon it, I could discover very positive feelings and a very interesting view of the theme handled. What I liked most is the idea of intertwining the story of human solidarity between Bilal and Simon with the also deep relationship between Simon and his wife Marion. I intended the movie truly thought-provoking in the way it manages to make one reflect on the concept of the "other", who is not only the distant, unknown one, and on the idea that human solidarity begins with those who live with us or near us day after day. Marion is so animated by the need to help the poor, abandoned clandestines, that she has in turn completely abandoned, physically and psychologically, her husband, to the point of being no longer able to see his truly loving soul. And the sad, moving and intense story between Bilal and Simon will help both to understand the value of human affection, which starts from the nearest ones, leading naturally to the furthest ones. I think this is a very interesting perspective, which goes beyond social denunciation and void criticism of institutions, because it appeals to the conscience of the single man and woman and seems to ask him/her: how much are you ready, in first person, to give to others, to go beyond selfish needs, how much are you able to sympathize with anyone, where anyone is a member of your family, as well as the "anyone" you may meet on the journey of your life? The cast, above all Vincent Lindon and Audrey Dana, are extraordinarily good in the way they manage to speak with conciseness and naturalness to the heart of the viewer. It is a movie which makes one reflect deeply on the reality of the clandestines (with which each European citizen and authority have to come to terms daily, without often finding certain and respectful attitudes) but more deeply on the very essence of human affection. A must see.