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\u201cI desire the softness of the shadows.\u201d These phrases are uttered early on in Claire Denis\u2019s The Fence by Isaach de Bankol\u00e9\u2019s stoic Alboury, who has come to a building web site in West Africa to get better his youthful brother\u2019s physique. Throughout the literal fence that divides the big web site from the dusty panorama surrounding it, the beleaguered foreman Horn (Matt Dillon) tries to barter with Alboury. He provides him cash, dialog, a drink. He invitations him into the compound to sit down with him within the mild. However Alboury, correct and solemn in his grey go well with, refuses Horn\u2019s entreaties. All he needs is the physique of his brother, the circumstances of whose dying stay imprecise. Whereas assorted hothouse histrionics rage contained in the compound, Alboury stays outdoors the fence, watching and refusing to budge, like a messenger from a extra ethical universe. And Denis shoots him prefer it. The director has been making movies with de Bankol\u00e9 for many years now (he starred in her function debut, Chocolat, again in 1988), and right here she lets him linger within the darkness, generally barely seen. These gentle shadows give him an enigmatic authority. We see simply sufficient of his ache, but it surely\u2019s transmitted to us as a form of immovability.<\/p>\n
Let\u2019s step again for a second. After a tepid response on the competition circuit final yr, The Fence is now lastly right here, but it surely feels prefer it\u2019s been deserted. Even supposing Denis stays one of many nice filmmakers of our time (2022\u2019s Each Sides of the Blade was one in every of her biggest works), her newest premieres this week on AMC+ with zero fanfare, after a clandestine weeklong New York theatrical run. That\u2019s a disgrace. The Fence will not be one in every of her higher efforts, but it surely has an attention-grabbing and considerably private backstory. It\u2019s based mostly on the 1979 French play Black Battles With Canine from the late author Bernard-Marie Kolt\u00e8s, who died of issues from AIDS in 1989. Kolt\u00e8s had written the character of Alboury for de Bankol\u00e9, one in every of his closest buddies. Throughout a go to to one in every of Denis\u2019s units towards the top of his life, Kolt\u00e8s and the director speculated about adapting the play for movie; Denis promised him earlier than he died that she would sooner or later make it. (It\u2019s really a bit extra sophisticated than that, apparently: Denis says that Kolt\u00e8s was at one level so unwell that he hallucinated that she had already made the image.)<\/p>\n
So The Fence represents a form of dream undertaking and in addition perhaps one thing of a curse, a promise the director felt indebted to maintain. Denis has taken her liberties with the fabric, however the absurdism of Kolt\u00e8s\u2019s work stays, with its odd bursts of habits and its uneasy mixture of melodrama and symbolism, to not point out the theatrical dialogue. It\u2019s a wierd film, to make sure. Whereas Alboury and Horn proceed their standoff, the latter\u2019s younger spouse, Leone (Mia McKenna Bruce, the radiant star of 2024\u2019s Learn how to Have Intercourse), arrives on the town, wearing heels and sporting a handbag with \u201cBabe\u201d written on it. She\u2019s candy and curious and under no circumstances suited to this desolate and really male building compound. Driving her from the airport, Horn\u2019s strapping and youthful second-in-command, Cal (Tom Blyth), provides her a tough time: At first it looks as if a tradition conflict, however ultimately we perceive that Cal himself has an intense, virtually homoerotic attachment to Horn, one which\u2019s additionally threatened as a result of the corporate is about to be offered to the Chinese language, which suggests Horn will quickly be leaving. Cal is accountable, we suspect, for the dying of Alboury\u2019s brother, so his attachment to the boss isn\u2019t simply non secular; it\u2019s additionally sensible and pressing. (To each complicate and additional symbolize issues, Horn himself has been castrated by what we\u2019re instructed was a building accident.)<\/p>\n
Denis can pull off melodrama, and she will definitely pull off the form of abstraction into which The Fence ultimately descends. However the theatrical and self-aware high quality of Kolt\u00e8s\u2019s work suffers when pressured to exist within the form of textured worlds Denis creates. His play exists in quotes; her movie, at its finest, is earthy, sensuous, speedy. In that context, the dialogue between Alboury and Horn can really feel stilted, its repetitions enjoying much less like an evocation of one thing timeless and extra like stagy dithering. Equally, the home back-and-forth with Leone and Horn and Cal by no means appears to go wherever.\u00a0Conceptually, maybe it was meant to be tinged with irony, however Denis\u2019s solid performs it straight, which drains it of energy and complexity. One wonders if the play may need been higher served on movie if Denis had stored simply the premise and fully reimagined all the things else.<\/p>\n
Now and again, although, the director provides us a second of intimacy or thriller that reminds us why she\u2019s singular. Watching Leone in a pink slip as she walks by means of the compound\u2019s bleak, industrial areas at night time, we intuit extra about this world than we would from reams of script. The dialogue between Alboury and Horn may not all the time work, but it surely\u2019s exhausting to tear our eyes away from their competing figures, one dirty and nervous, the opposite grave and motionless. The camp watchmen sing to one another at nightfall. A girl quietly locations a palm frond on a puddle of blood. The Fence just isn’t an excellent film, however there’s usually nice magnificence in it. It definitely doesn\u2019t should disappear.<\/p>\n