Fario

In Lucile Prost’s first feature FARIO, the question of where to live leads to an even bigger one: how to live? Léo, a young engineer, returns from his Berlin life to his hometown in rural France. He is determined to sell his share of his father’s farm but, once there, both the textures of the life he left behind and the old struggles of the land begin to rub against each other. A big mining company is pushing farmers to sell, and the agricultural community is resisting. Léo’s father’s old life might be foreign to him, but not to those around him: his mother, a young sibling, a cousin who took over the farm, old loves and friends. Slowly but steadily, grief about his father’s suicide begins to overtake him in unfamiliar ways, which seep into the film as visions, hallucinations and obsessions that also seem to reference the silent pollution trickling from the mine into the river. Is what we’re seeing real? Should hallucinated feelings not be taken seriously? The film examines a small community in danger in order to consider youth, aging and mourning, and how they are all intertwined with the contemporary treatment—or mistreatment—of the land. It is also a summer film: youth, beauty, friendship and love included. (Lucía Salas)

In the presence of Lucie Prost.

Lucie Prost: LES ROSIERS GRIMPANTS (2016, K, KO-REGIE), VA DANS LES BOIS (2021, K)