WATCH THE TRAILER HERE
First, the Recap:
Overt humiliation. It’s something we ALL wish to avoid like the plague, as to be “exposed” by others in such a hurtful manner, to feel like the world is now against us because of it, will cause undue but undeniable damage to our entire sense of self and/or that which we were attempting to pursue. Yet, in the tumult it brings about, might there just be the opportunity to not only overcome the circumstances involved, but rise above? Shy and uncertain Mahdi (Yasser Osmani) finds himself in this precise scenario as a bus ride with his highly outgoing sister Kenza (Aya Halal) and her best friend Aissa (Ramatoulaye N’Dongo) has turned nightmarish when a private ode to Jada (Sanya Salhi), the girl he yearns for, goes public, forcing him to face his own fears plus the perceptions and opinions of everyone else around him.
Next, my Mind:
The potent weight of wrongly attributed observation, flawed understanding, varied and clashing points of view, the facades we act upon for the sake of sought-after acceptance, and the reality that just being yourself is the key to winning the day all get their screen time as thematic explorations found in this newly Oscar-shortlisted 15-minute short film effort from writer/director Adrian Moyse Dullin, writer Emma Benestan, collaborating writer Anne Brouillet, staff writer Éléonore Gurrey, producers Sylvain Lagrillère and Lucas Tothe, plus executive producers Audrey Diwan and Rosalie Varda. It presents itself as an evocative exposé in what it is to not only be in the fragile state of childhood, but just how potentially damaging to one’s self esteem others can be while they find entertainment out of another’s personal anguish. Yet, as hinted at above, the even bigger truth that comes through–this can all be conquered and the healing strength of standing up and being transparent can find you victorious.
A stirring magnitude of emotional maturity intermixes with an ultimate, indisputable, all-too-familiar level of heartbreaking relatability then affecting sweetness via the narrative conveyed which sees one young boy confronting a deeply mortifying scenario where his longing towards the young girl he has a crush on gets involuntarily and quite openly outed for a crowd of unforgiving teenagers on a crowded bus and the subsequent ramifications of how he chooses to handle the situation. From that very opening moment where it’s made clear what is unfolding, the film wastes no time diving headfirst into the concepts of indignity, anger, bullying, shame, and guilt that soon morph into further, more positive expansion on inward reconciliation, discovering one’s courage, recognizing when we’re not being true to ourselves, finding the willingness to just “put it all out there” regardless of the state of affairs that it appears to be on the surface, and experiencing a wholly refreshing degree of satisfaction when doubters get put in their place.
How these ideas get fleshed out is made effective thanks to the film’s well-written and perfectly paced execution which lends itself efficiently to allow the viewer to be fully invested in the film’s characters and intent without feeling like we’re being cheated by the truncated runtime. This critic found the film’s finale to be brilliant and it honestly took me a quick moment to stop, ponder, and realize what HAD just happened to make it so, which only made the endgame delivered even more clever and impactful. The notion of just how cruel people can be, especially in this current reality of social media and having that almost TOO immediate ability to crucify someone in “front” of so many, whether via being physically present or within that digital sandbox, really remains an underlying foundation to this story, at least for this critic, and it perhaps even places a deeper and more purposeful awareness-raising facet to the film that I certainly feel is more than relevant to recognize and acknowledge.
Osmani is now ANOTHER young thespian who continues to prove that the absolute quality of ability out there in the acting world keeps trending younger and younger, and how these kids manage to come across so level-headed, methodical in their craft, and show the potential they possess at this age still astonishes me. This is the case through his performance as Mahdi, a totally innocent young boy who finds himself in the embarrassingly revealing crosshairs of unwarranted and hurtful scrutiny when the “news” and soon-to-ensue interaction with a crush gets broadcast to the masses. Having to encounter all the harsh ridicule then overtly conflicting advice he gets from his rather unscrupulous sister and her more well-meaning friend, how events manifest and grow then find the resolution it all does is filled with a multitude of strong, turmoil-filled, chaotically emotional moments, and Osmani navigates this with a poise and heartbreakingly poignant veracity that sells you utterly on the character and that makes the outcome of the dilemma SO satisfying.
Likewise, Salhi comes to life with a wonderfully endearing, initially faultless demeanor that then turns so totally opposite to a point where we don’t at all understanding precisely how we will end up feeling about her character via the role of Jada, the young girl on the bus that is the source of infatuation for Mahdi, though her cognizance of this is non-existent at first. She seems to relish being that someone people pay attention to and engage with, yet we can’t help but feel she doesn’t actually embody any form or true arrogance or is putting on a proverbial mask. As things begin to progress, however, and the instances culminate that bring her into contact with Mahdi, watching as her grander attitude changes is quite notable and it calls into question everything we might have tried to ascertain about who she really is when push comes to shove and personal “reputation” is at stake. It’s a marvelous performance Salhi provides, and carries with it such a wealth of believability, charm, and real intensity when needed. Impressively done.
Halal also does an excellent job in her portrayal of Mahdi’s social media-obsessed and rather self-serving sister Kenza, whose “support” of her brother in the middle of his plight may not be what it should be, possible even instead BEING one of the instigators of it all. But, seeing how things begin to weigh on him, the transformation that could happen with her makes for its own point of interest in the story, with Halal doing a solid job in bringing her character’s possible growth to reality. N’Dongo is a more understated presence yet no less integral to the story through her role as Aissa, Kenza’s best friend and a larger voice of reason when it comes to how she interprets and wishes to aid Mahdi while perhaps also being an unanticipated foil to Kenza’s approach to what her brother is going through. Again, it’s a far more subtle performance that N’Dongo inhabits, but it bears the necessary weight that’s required for Aissa’s character and her part to play in the proceedings.
Primary supporting appearances are made by Radwan Saifeddine, Rayanne Béliouz, Ladji Boune, and Benoît Brossin. So, in total, “The Right Words” definitely makes the reasons for its Oscar shortlist status known, pushing forward with its expressively fervent narrative that encompasses first love, the ever-fluctuating, sometimes so ill-conceived “etiquette” of youth, the inherent, damaging nature of ridicule, peer pressure, and trying to be something you’re not, and the redemptive victory that can arise from doing what there’s just no other way of saying–BE YOURSELF!
As always, this is all for your consideration and comment. Until next time, thank you for reading!
