Apparently, there’s something about Le Havre. In 2011, I reviewed Aki Kaurismaki’s Le Havre, a quirky and colorful drama set in the aforementioned French port city, and last year I wrote about Jean Renoir’s La Bête Humaine, a tragedy in which murder is committed on a train bound for the very same burg.
It’s fairly obvious from the get-go where Aki Kaurismaki’s new film Le Havre (opening at Landmark’s Shattuck Cinemas this Friday) is going — viewers conversant in the language of cinema will probably divine its narrative direction before the end of the second reel. That doesn’t mean the journey isn’t worth taking, however: for all its predictability, Kaurismaki’s latest feature is a near flawless example of how to tell a story on film.
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