THE OPINION OF THE “WORLD” – TO SEE
The front door latch is open, the window can be slid, the engine is off and yet Louise (Marina Foïs) can’t get out of her car. As soon as she crosses her legs on the other side of the running board, she finds herself hyperventilating, on the verge of asphyxiation, victim of a panic attack. After a few failed attempts, this nurse in her fifties, employed in a Burgundian hospital, decides not to force things by remaining glued to the front seat. Very quickly, he does not have enough gasoline left to find peace on the surrounding roads.
A first practical problem arises: how to refuel when you are in a state close to a hikikomori (those teenagers who no longer leave their homes)? Chance puts Paul (Benjamin Voisin), a young thug with a gun, in his path: he steals his car stranded in a gas station. Failing to get Louise out, the boy is forced to kidnap her and travel with her, which amounts to finding solutions so that she can eat, wash, change and go to the bathroom without setting foot outside. His goal: to take revenge on a man in Cap-Ferret, in the Southwest.
“Freewheeling” never completely ventures into nonsense
Initially, we enter Didier Barcelo’s film with the fear of undergoing a series of humorous sketches played out at a Stakhanovite pace around a question of good manners: how to spend several days in a car without ever getting out? We think of the funny pitch of Perched on a tree (1971), by Serge Korber, who had cornered Louis de Funès and two hitchhikers in a convertible car perched on an umbrella pine after an accident.
But past the first gags which all the same have the merit of sketching out an almost probable relationship between the two protagonists, we find ourselves faced with a conceptual curiosity in the genre of Rubber (2010), Quentin Dupieux’s first feature film following the trail of a killer tire. With the difference thatFreewheeling never venture totally into nonsense.
Traveling therapy
Before getting stuck in her Volvo, Louise was brutalized in nights on call, left her house in her pajamas, called her son in Australia while getting tangled up in the jet lag and systematically parked her car where it was. prohibited. Over the miles, this moving camera will build, in a metaphorical form, the sensitive portrait of a woman who no longer knows where she is and has no other way but to let herself be guided. Zigzagging between comedy and psychological drama, the journey to the Arcachon basin is gradually transformed into itinerant therapy which illustrates both Louise’s disarray and that of Paul, on a road which multiplies the bends and horizon lines, able to make the most stoic of us dizzy.
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