The slow intro preceding Freds entrance takes a long time: do not come with him to the camp life

Screeching tires, crunching beer cans and a lot of shouting hoarse figure as film music in this original French drama. Documentary and fiction blend into the wild landscape around Paris, one of the home regions of the yenish people: a traveler people from Central Europe which has both religious restrictions as banal freedoms to their motto. Four authentic guys driving at top speed to meet an unpredictable night, looking for tomorrow.

Dust swirls over the meat on the spit, as Fred's car at breakneck speed into the camp denies that he has missed fifteen years. He had no choice, he says. The cops jumped himself for his car ?? he just wanted to earn a living for his family. His mother pressed the giant to her chest and wears to keep her family on account of the world experience of a former thief who has just come out of prison. The inmates looking to suspicion. The shaved, take advantage of high blond haircut of evangelical cousin Moïse is worried as he Freds half brother recommends no stupidities. Jason will be looking wide-eyed at the returning legend who clearly know what life. Perhaps he should also encourage criminality toddler scaling. Tonight is the only option - a day before he is baptized.

The slow intro preceding Freds entrance takes a long time: do not come with him to the camp life. The deceptive silence flow off in fairly noise, static image gets some dynamic panache. It is eaten toasted, fought and cuddled. Short shots going into long scenes and dialogues have a vague history. After a case of beer Moïse and Jason jumping in the car flying up Mickaël brothers and Fred, en route to a copper theft. The social drama emerges in a few minutes to a movie that reveals the vulnerability of seemingly rock-hard guys.

Director Jean-Charles Hue knows how to put amateur and professional actors. In his last film La BM du Seigneur (also on Dorkelfamilie, yenish people and camp life) could be practiced, now they seem accomplished. Hue seems to have left a lot of room for improvisation, which makes the fortunes of travelers realistic. The standards and motives of the guys are sometimes incomprehensible and painfully naive, but there is no doubt that this is real life. However, the film is loud and chaotic: the smell of leaking fuel, burning rubber and sweaty, unwashed men and almost smell the testosterone drips from the screen. Humorous moments provide a respite, for example, if all the polymath Fred secretly ask the way at a fast food restaurant or in the course of his ?? Thief for Dummies ?? - life lessons the group instructs as close as possible to defecate in the car. Supposedly artistic excesses which Fred mistaken for tree limbs or tail rotating fans, assisted by a sudden and unnecessary soundtrack, however alienating and interrupt the tension that had built up so expertly. Yet the whole remains intriguing.

The title Mange tes Morts (literally ?? eat your dead ??) refers to the greatest insult that can make the contestants. The term freely anyone deny his ancestors. Family is everything to the yenish people, just as God and free choices. Hue emphasizes the contradiction between the two values. He shows that the latter is not always accompanied by clear blue waterfalls and endless horizons, sometimes life is pretty drab, dark and brutal. The life-changing ride wears an American road movie atmosphere with them next action and chase scenes - a rarity in French cinema.