The film starts in Yugoslavia, crosses borders into Kosovo and ends at the back of a UN jeep.
War is perpetual. That is obvious and that is also the message in a cage where there is no mercy, no compassion or respect for life when the rush of war takes over. It is an imperative that it be so, such is the obstinate nature of war and Captifs.
Director Yaan Gozlan‘s first feature length moves you with atmosphere, sound and baffling and hypnotic camera work. sometimes it moves you inside out and it is just then that derealisation sets in.
Captifs is like a kid casually telling a story and suddenly everything gets very serious, extremely uncomfortable and horrific. Some scenes make you want to look away, but you don’t; such is the pull of this film.
The film has it’s faults but I’d rather stick to the film as whole; I’d rather tell you the good and you figure the bad for yourself, or maybe not. That’s why.
In the end it is, in my opinion, telling you how it feels to be at war. How it must feel to not be forgiven, to see madness in the oppressor’s eye and then, eventually to start relating to the look, proving Nietzsche right.
It left something back. Something that cannot be shed or shaken off.