On the surface, the titular heroes of Robin Campillo and Laurent Cantet Enzo It seems to be your fairly average teenager. He is the kind of guy who likes to keep his own kids but constantly desires to connect, especially outside of the family unit, he is the kind of handsome guy who likes to keep his own kids, athletic, relatively friendly, but also introverted, stubborn and somewhat fluctuating.

Maybe Enzo (promising newcomer Eloy Pohu) is a little also On average, this could explain why this delicate French drama seems to have more twists and turns than it actually is. Below the surface, Enzo faces some major conflicts in his life: he has been fighting a quiet war with his bourgeois parents (Pierfrancesco Favino, Elodie Bouchez), rejecting his brother (Nathan Japy) successfully choosing the typical academic route. And he also rejected his heterosexuality towards him, and he gradually fell in love with an older Ukrainian bricklayer, Maksym Slivinskyi, who met him on a construction site.

The film was directed by Cantet after he became ill before filming (he died more than a year ago), which reflects the sensitivity of both filmmakers, although it never appeals to you as much as their best work. Much like its protagonist, Enzo It seems like you are desperately searching for something or something someone wants to master, knowing that these things can easily slip away.

Since the beginning of their career, Campillo has served as both a co-author of Cantet and an editor for many features, including pause,,,,, Walk south and 2008 Palme d'Or Winner class. Campiel eventually started directing his own films and in 2017, with AIDS - the drama above broke out with international films, BPMwon the Cannes Grand Prix and took a hit at the French box office.

Both directors show a preference for the character rather than the plot, building stories around individuals full of desire, fear, flaws and contradictions – those who are more like real than the movie characters. This is certainly the case with the troubled Enzo, who attended a vocational school in the town of Côte d'Azur where he lives, spending several days a week apprenticeship on a construction site in a private residence.

We first met him during an afternoon work, he showed little or interest at work, lazily stacking bricks on the wall that quickly collapsed. When Enzo's boss (Philippe Petit) drives home to discuss his bad attitude with his parents, he is shocked to discover that the teenager lives in a luxurious modern villa overlooking the sea-a house much like the one they are working for.

Enzo is actually a wealthy kid, and for reasons that have never been fully expressed, his colleagues prefer the educated ways of his family, including a strict teaching of their father and teaching math. "I don't want to learn," he said. "I'm not an artist." He later told his mother, even though he seemed to have a knack for painting and covered the walls with metaphorical sketches.

Like many teenagers, Enzo doesn't know what he wants, but he does know what he doesn't want: the lives of parents and brothers, no matter how relatively happy and adjustable they seem. He prefers colleagues Vlad and Miroslav (Vladyslav Holyk), two Ukrainians who return home from the war, at least temporarily, have their lives become more attractive.

Enzo starts with Vlad until he suddenly realizes a love story is emerging. Although both men seem to be straight, this happens: Vlad shows off pictures of his female conquest on his phone, while Enzo has a high school girlfriend (Malou Khebzi) who takes home to lose weight.

The filmmakers never have a conclusion about Enzo’s emerging sexual behavior or his plans for the future, which is obviously design. Instead of pouring their young heroes in, they let boys discover themselves as many kids of that age and that era. This is an extremely honest description of puberty, but it does not always cause drama. The result is a movie that can't pack enough emotional charge even if we long to know where Enzo will go next.

As always, Campillo coaxed the actor to have a great performance, which blends professionals and amateurs. Veterinarian Bouchez (Wild reeds) and favino (Nostalgia) Play a caring couple who don't know their son completely, and are not caught in the class that botheres him, but give him as much love and feelings as possible. Slivinskyi is an actual construction worker like his character, a quiet disarming of a able refugee, with a certain amount of darkness inside.

Finally, when young pohu worked under our skin as a kid, he felt the feeling of many of us at the time, Enzo shouted at the end of the movie, and we all remembered the radio station’s classic teenage girl song, “Creep”: “I don’t belong here.”