The Catch-22 is that once permanent lodging is finally secured for someone, the drop-in center staff are legally prohibited from staying in touch.Įvery bit as dedicated as Manu, social worker Audrey (Audrey Lamy) doesn’t have much of a personal life to distract her from trying to help others. A return to the workforce seems unlikely. Basic job-counselling is available if visitors want it but many of the cast members sport weather-beaten faces where the weather won. The always-superb Corinne Masiero plays Manu, the beleaguered director of a drop-in day shelter to which homeless women commute - often across enormous distances - to take a hot shower, do laundry, enjoy a cup of coffee and snooze indoors. A universal underdog vibe gives this consistently funny look at daunting circumstances the potential to travel and touch audiences far and wide. Writer-director Louis-Julien Petit’s jumping off point was a 2014 TV documentary and accompanying book by Claire Lajeunie about how homeless women - who make up 40% of the street population - and the social workers who try to help them are “invisible.” While the social safety net may be stronger in France than many other places, that doesn’t mean it’s intelligently run. Now that Yellow is the New Black, domestic movie-goers have been turning out at an impressive pace since January 9 to see memorable characters slyly fight the system.Ī consistently funny look at daunting circumstances Arriving in theatres after over two months of “yellow vest” protests by ordinary citizens across France, the theme of maintaining hope and dignity when prospects are dwindling or stymied feels pertinent without preaching. 102minsĪ comedy about homeless women in the economically depressed North of France doesn’t sound like a winning proposition on paper but with its engaging mix of actual women from the streets and a handful of France’s least grand professional actresses, Invisibles (Les Invisibles) is solid empathy-fuelled entertainment.
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