Enzo: A Tribute to Laurent Cantet, Carried Forward by Robin Campillo

The film Enzo opens with a poignant dedication, a testament to the collaborative spirit and tragic circumstances surrounding its creation. Initially envisioned as a project helmed by the Palme d’Or-winning director Laurent Cantet, renowned for his immersive depiction of school life in The Class, the film has ultimately been brought to fruition by his close collaborator, Robin Campillo. The shift in directorial duties occurred under the most difficult of conditions: in April 2024, a mere two months before production was slated to begin, Laurent Cantet succumbed to cancer. The arrangement for Campillo to take the helm was made during Cantet’s final days, a solemn agreement forged with the awareness of his dwindling time. This poignant backstory imbues the film with a profound emotional weight, a legacy project born from deep friendship and shared artistic vision.

Robin Campillo, speaking from a Holborn office, conveyed the emotional resonance of his experience guiding Enzo to completion. At 63, the French director described the filmmaking process as akin to "creating a temple for Laurent" and "summoning spirits." He emphasized his commitment to directing the film in his own voice, rather than attempting to replicate Cantet’s distinct style. This artistic independence is particularly evident in Campillo’s handling of the film’s central themes of desire and identity. As a gay man, Campillo brought a personal perspective to the narrative that differed from Cantet, who was heterosexual. "When I was young, it wasn’t easy being gay," Campillo shared. "The possibility of touching another guy felt unthinkable. I wanted Enzo to think it’s a miracle he could touch a guy he desires." This personal investment shapes the film’s exploration of burgeoning sexuality and the complexities of forbidden attraction.

The narrative of Enzo introduces its titular character, a 16-year-old played by first-time actor Eloy Pohu. Enzo is initially presented as a somewhat awkward construction site laborer, struggling with the physical demands of manual work. This public facade, however, belies a secret life. After a day spent enduring the harsh sun and arduous labor, Enzo returns to his affluent home in the picturesque coastal town of La Ciotat. There, he navigates a strained relationship with his bourgeois parents, Paolo (Pierfrancesco Favino) and Marion (Élodie Bouchez), who advocate for his enrollment in a prestigious private school in Marseille. This stark contrast between Enzo’s working-class guise and his privileged background establishes a central tension, hinting at his internal conflict and potential rebellion against his prescribed destiny.

Further layers of complexity are introduced as Enzo develops an intense infatuation with Vlad (Maksym Slivinskyi), a Ukrainian co-worker in his early twenties. Vlad’s presence in France is presented with an undercurrent of uncertainty, as his potential conscription for the war against Russia looms. The burgeoning connection between Enzo and Vlad unfolds through a series of subtle yet potent interactions. While outwardly engaging in typical male camaraderie, swapping photos of their girlfriends and heading out to nightclubs ostensibly to meet women, a deeper intimacy simmers beneath the surface. These clandestine moments include shared late-night meals at Vlad’s modest dwelling and Vlad’s solicitous attention to Enzo’s appearance before nights out, a ritual that involves an initial undressing. These scenes are charged with unspoken desire and tentative exploration, highlighting the nascent stages of Enzo’s journey of self-discovery.

Robin Campillo elaborated on the nuanced interpretations of Enzo’s actions and motivations, noting a divergence from the original vision he shared with Cantet. "With Laurent, we absolutely agreed on what Enzo was saying or doing," Campillo stated. "But we didn’t have the same interpretation. For Laurent, Enzo was a young guy of his generation whose desire is very fluid, and that’s not a problem. The issue for the parents, especially the father, is that Enzo’s a minor." Campillo, however, perceived Enzo as more deeply closeted. "When Enzo is with his girlfriend, she has to touch his hands and kiss him. He doesn’t give anything back naturally," he observed, suggesting a deeper internal struggle for Enzo to express his true feelings.

On paper, Enzo‘s thematic material might appear more aligned with Campillo’s established directorial oeuvre. His previous works, such as the critically acclaimed 120 BPM and Red Island, are known for their unflinching portrayals of charged coming-of-age narratives and explorations of complex social and political landscapes. However, Campillo’s contribution to Enzo extends beyond his directorial role. He boasts a significant history as a screenwriter, having co-penned several of Laurent Cantet’s seminal films, including The Class, Heading South, and Time Out. Notably, Campillo was brought onto Enzo specifically to undertake a significant rewrite after initial drafts failed to meet Cantet’s expectations, underscoring his deep understanding of the project’s core themes and characters.

A Collaborative Legacy and a Personal Vision

The genesis of Enzo can be traced back to a collaborative effort between Cantet and Campillo, who co-wrote the screenplay with Gilles Marchand. The initial intention was for Cantet to direct, a natural progression given his established reputation and the film’s thematic resonance with his previous work. However, the untimely passing of Cantet cast a long shadow over the project, presenting Campillo with the profound responsibility of honoring his friend’s vision while imprinting his own artistic sensibilities.

Campillo’s personal experiences as a gay man inevitably influenced his interpretation of Enzo’s journey. He articulated how his own youth was marked by the challenges of navigating his sexuality in a less accepting era. This personal history informs his depiction of Enzo’s tentative steps toward understanding his desires, particularly in his interactions with Vlad. The film, therefore, becomes a nuanced exploration of self-discovery, viewed through the lens of both Cantet’s original conception and Campillo’s deeply personal directorial approach.

Unpacking Enzo’s Ambiguities

The character of Enzo, portrayed with a deliberate naturalness by Eloy Pohu, remains largely inscrutable throughout the film, even during his introspective monologues and moments of emotional vulnerability. This enigmatic quality invites introspection from the audience, prompting questions about the true nature of Enzo’s desires. Is his flirtation with Vlad merely a form of protest against his conservative parents, or is there a genuine romantic or sexual attraction at play? The ambiguity surrounding his interactions, particularly his pursuit of Vlad, an older, seemingly straight man, raises the possibility that Enzo may be unconsciously ensuring that no actual romantic relationship will materialize, thus preserving a state of emotional safety.

Campillo himself acknowledged these ambiguities, stating, "Enzo tells the father, ‘He’s my lover. He fucks me.’ It’s a declaration of independence." He further elaborated on the potential motivations behind Enzo’s fixation on Vlad, suggesting, "It could be that Enzo is love with Vlad because he’s a worker from Ukraine, a country at war. But there’s also a masculine way that he desires him. He draws topless soldiers, which is a little bit weird." This multifaceted interpretation highlights the film’s refusal to offer easy answers, instead delving into the complex and often contradictory nature of adolescent desire.

Shifting Parental Dynamics and Societal Perceptions

The film also delves into the complex dynamics of family relationships, particularly through Enzo’s parents, Paolo and Marion. Campillo revealed that during the writing process, he and Cantet had initially switched the roles of the parents. In the revised script, Marion is the working parent with a degree of emotional distance, while Paolo, who handles domestic chores, takes on a more nurturing role. This seemingly progressive arrangement, however, is imbued with a darker undercurrent. Campillo perceives Paolo’s domestic involvement as a tool for a more insidious form of parental oversight. "The father does the laundry and makes dinner. He uses that feminine role to get into his child’s bedroom to be there all the time," Campillo explained, suggesting that Paolo’s perceived attentiveness is a form of control, a subtle violation of Enzo’s personal space.

This reinterpretation of parental roles challenges conventional notions of gender and family, inviting audiences to question their own assumptions about authority and intimacy within the domestic sphere. The film implicitly critiques a certain type of paternalism, where proximity is mistaken for genuine understanding. Campillo contrasts this with Vlad’s character, who, despite his own complexities, offers a form of genuine, albeit complicated, connection.

The Power of Gesture and Subtlety

Campillo places significant emphasis on the power of subtle gestures and unspoken emotions, a directorial choice that resonates with the legacy of filmmakers like Robert Bresson. He cites Bresson’s L’Argent as an example, recalling his own hand appearing in the film, a moment he described as being filled with "suspense" due to his own apprehension. This focus on the physicality of emotion and the significance of even the smallest actions is a hallmark of Enzo‘s narrative.

A pivotal scene illustrating this is when Enzo, in the middle of the night, reaches out to touch Vlad’s chest. The subtle yet charged nature of this gesture, and Vlad’s subsequent reaction, are central to the film’s exploration of desire and consent. Campillo elaborated on the nuanced direction of this scene, noting that in early takes, Enzo’s hand moved too directly towards Vlad’s groin. Collaborating with co-writer Gilles Marchand, Campillo opted for a less explicit gesture, focusing on the tentative touch of Enzo’s fingers on Vlad’s chest. Vlad’s firm yet gentle withdrawal from Enzo’s touch, coupled with his decision to take Enzo home, signifies a boundary being set, a recognition of responsibility. "Vlad finds a way to be firm and gentle at the same time," Campillo observed. "The father is unable to do that. Vlad decides that this child’s body doesn’t belong to him, and so he says, ‘I will take you home. I can’t have you in my house at night.’ It’s very simple but direct. I love that."

This scene encapsulates the film’s commitment to portraying desire with restraint and realism, eschewing explicit depictions for a more psychologically resonant approach. Campillo further elaborated on this artistic philosophy, stating that while sex scenes in Cantet’s films tended to be "more modest," his intention for Enzo was to "show desire with a simple gesture, not an actual demonstration." This approach extends to other moments in the film, such as the sensual interactions between Enzo and Vlad on the construction site or the implied intimacy between Enzo’s parents.

A Homage to Friendship and Artistic Continuity

Ultimately, Enzo stands as a profound homage to Laurent Cantet and the enduring friendship between him and Robin Campillo. Campillo’s commitment to bringing Cantet’s vision to life, while infusing it with his own distinct perspective, ensures that the film is not merely a posthumous tribute but a living testament to their shared artistic journey. "I wanted to use Laurent’s modesty to do something else," Campillo stated. "Not what he would do. Not what I would do. But something else. The film is a homage to Laurent, and I wanted to make something out of our friendship."

The film’s exploration of desire, identity, and the complexities of human connection, set against the backdrop of societal expectations and personal longing, offers a poignant and thought-provoking cinematic experience. Enzo is more than just a film; it is a testament to the power of collaboration, the resilience of friendship, and the enduring impact of artistic vision, even in the face of profound loss. The film is scheduled for release in UK cinemas on June 5th, inviting audiences to engage with this deeply personal and artistically significant work.