C’est pas moi, je le jure! (It’s not me, I swear!)

C’est pas moi, je le jure! is not a movie that is dictated by a plot which usually drags audiences along, finding means to nicely wrap up the story and reach a conclusion. I daresay one can mix up the scenes and it would have made almost perfect sense. That is because the beauty of C’est pas moi, je le jure! lies in each poignant scene, even by itself. Envision Leon and Lea (a girl in his neighbourhood), hands interlocked, both victims of family circumstances, against the beautiful scenery of Montreal, Canada. The storyline just assists in stringing such scenes together for a coherent unfolding of events. That being said, the storyline is not loose in its delivery although the premise is rather simple: Leon’s mother (Suzanne Clément) leaves the family for Greece. Leon and Lea finds means to buy a ticket for Leon to visit his mother.

The convincing cast consists of first timer, Antoine L'Écuyer whose delivery is believable. On top of that, his appearance perfectly suits the role of Léon Doré. Antoine L'Écuyer has this sulky rebellious look, as with a boy just on the brink of puberty. The soundtrack is weaved together by a Montreal musician, Patrick Watson (whose band just came to Singapore and left. His band is named after his name.) The flow of music is subtle and its quiet sound is almost disquieting, especially to the most emotional of moments. I think this is music at its roots in film, not stealing the limelight but acting as a complementing dimension.

At the movie progresses, one laughs with incredulity at the lengths at which Leon would go to keep his family together, however naïve these measures may be. One wonders whether Leon would ever change for the better. There is a brief hint at normalcy when his father (Daniel Brière) delays leaving for work and seats beside Leon to play a duet with him on the piano, but the moment is gone in wisps soon, leaving behind the fragile father-son relationship and Leon to his mischievous devices again.

There are a few religious references in the movie, one right at the introductory narration. It was not altogether relevant but I think it added an extra layer to Leon as a character. The introduction of religious connotations created tension between his conscience and his wayward tendencies. It reminds audiences that he is still a child after all. He is not free from guilt and definitely not invincible from religious teachings.

On a side note maybe specific to me only, the overhead shots reminded me of a scene from Eternal Sunshine of the Spotless Mind where Joel and Clementine laid on the ice, pointing to the stars. In Eternal Sunshine of the Spotless Mind, the camera angle shows these two people in love in a huge intimidating world, as if their love is almost negligible. In this movie, it gives me a sense of helplessness as if Leon is alone, facing the wide expanse of universe, speaking out to it, cursing it, but at the end, almost accepting it.

C’est pas moi, je le jure! is a dark comedy with laugh-out-loud comical moments. Yet due to what I’m going through in life now, I laughed and cried at the same time. I laughed at the absurd extents at which Leon would go for revenge and sometimes, simply for fun. I cried at the breakdown of the family unit, as even the banal routines of life were not spared. If you’re looking for a feel-good heartwarming movie, look elsewhere. This is Little Miss Sunshine with fewer and barer gleams of hope.

I highly recommend watching it even if you have to travel all the way to Vivo to catch it. It’s coming to the end of its run. Do some justice to Art house films.