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by Méabh Broderick In a time when the viewing experience of film has been confined exclusively to the home and as a result has become a somewhat solo activity, the Cork International Film Festival’s theme of ‘solidarity’ for their 2020 programme is an apt choice, reflecting something we all need and desire in these most isolating times. These days, the good news is few and far between so I find myself gravitating towards heart-warming stories of solidarity and triumph, something I hoped to find in Pierre-Francois Martin-Laval’s 2019 film Fahim, The Little Chess Prince or simply, in its original French title, Fahim (Martin-Laval), as part of the Family Programme. The film follows the trials and tribulations of gifted chess player, Fahim and his father, Nura, as they are forced to flee their home in Bangladesh, leaving their family behind, in search of asylum in Paris. Forced to adapt to their new world, Fahim finds purpose under the guide of renowned chess coach Sylvain Charpentier, played by acclaimed French actor Gérard Depardieu. Developing the increasingly strained relationship between father and son as they experience the hardships of homelessness and poverty, the film carefully balances familial themes with issues of racial inequality, offering a heart-warming story of triumph and hope in the face of adversity. Whether you consider chess a sport or not, Martin-Laval frames Fahim’s story in a way reminiscent of those found in countless ‘underdog stories’ depicted in sports bio-pics for decades, which would seem far-fetched, if it were not prefaced by the words “Based on a true story”. As my introduction to the work of director Pierre-Francois Martin-Laval, I was incredibly impressed with the film’s ability to translate the extraordinary true story of Fahim Mohammad to screen with its captivating visuals, engaging script, and truly moving performances. Contrasting the claustrophobic imagery of Bangladesh with the expansive cityscapes of Paris, cinematographer Régis Blondeau manages to capture the family’s desperation and need to flee and the glimmer of hope found upon arrival in France, while simultaneously depicting their isolation in this new land where they are dwarfed by their surroundings. While the depth of the film’s political commentary may fall short overall in order to make room for the ‘underdog story’, the alarmingly contrasting visuals presented between the two countries highlights the global inequality of which millions, other than Fahim, are a victim to. In addition to depicting the harsh reality of their struggles on a global scale, Blondeau’s cinematography also manages to explore the increasing generational divide between father and son, as Fahim quickly adapts to his new surroundings, while Nura never manages to progress very far beyond the words “Bon appetite”. While the films visuals play a key role in building Fahim’s world, it is the strong performances by the extensive cast that truly bring it to life. Anyone familiar with the sports bio-pic will be aware of the need for the initially reluctant coach who eventually forms a strong bond with our underdog, a role fulfilled in this film by established French actor Gérard Depardieu, who’s character Sylvain Charpentier represents the real life Xavier Parmentier. While filling the shoes of this somewhat stereotypical role, in less capable hands, could likely have fallen flat and blended in with the hundreds of others before him who have taken on such a role, Depardieu’s take on the character convincingly sells the bond he develops with Fahim. However, Depardieu’s performance is not the only one of note. It can often be hard for newcomers to compare to well established performers such as Depardieu on screen, however Assad Ahmed (Fahim) and Mizanur Rahaman (Nura) seem more than up for the task. Rahaman’s performance captures the desperation of his character while trying to shelter his son from the hardships of their situation, while Ahmed’s portrayal of Fahim beautifully conveys the childlike wonder of a young boy in a foreign environment while also being able to tap into the desperation and rejection experienced due to his position. Ahmed’s performance is elevated by his interaction with others, particularly Depardieu’s character and the other children in the chess club. It is through these characters we see the festival theme of solidarity develop. Mirroring Fahim’s ups and downs in chess with their struggles in poverty and isolation, it is apparent that the film attempts to explore issues of race and inequality throughout. As the film progresses this seems to fade into the background in favour of the lighter tone found in Fahim’s chess success story. However, this would not dissuade me from recommending the film as it is through this element of the story and the relationships it explores, that the film delivers the theme of solidarity. Fahim manages to adapt to his new world with the help of his new friends and chess coach. Even in his lowest moments, he is taken in, and it is because of these bonds that he triumphs in the end. Not only is this a heart-warming exploration of the good that can be achieved in human solidarity, but it is also a reflection on the real life solidarity experienced by Fahim and thus offers a glimmer of hope that such good can exist even in these bleak and isolating times. While not much has been written on this particular film, a great deal can be read on Fahim’s own life, in which his deep connection with his chess coach becomes even clearer. While the real life Parmentier passed away prior to this film’s release, it feels like a fitting ode to the bond Fahim and him shared and the value of the solidarity Fahim experienced from Parmentier in shaping his future. Fahim’s life was changed due to the Parmentier’s help and thus without him, Fahim’s story would have gone in a different direction and would have remained untold, and this film would not exist.
Film festivals every year possess the ability to introduce wider audiences to works that would otherwise fly under their radar. Whether it be in showcasing the works of smaller artists, or in bringing attention to international films for a larger audience, film festivals offer the chance of discovery and exploration of new work and artists that cannot be found elsewhere. While the festival this year was delivered in a much different way, this aspect of the experience was maintained and as a result I was able to discover Fahim’s story for the first time. Though we were deprived of the ability to experience the films collectively, the feeling of solidarity in this time of isolation can be felt through this film and the wider festival programme. For while we are all confined to our own bubbles in Cork this year, the festival brought together creators from all corners of the world, for us to share in the experience of escape even if only for a brief moment.
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