On June 5, 2024, two contrasting approaches to cinema consumption are evident in 2024. On one side, Bad Boys Ride or Die, the fourth entry of a successful Hollywood franchise, is exclusively shown in movie theaters. On the other side, Sous la Seine, a shark film produced by Netflix’s French division, taps into Xavier Gens’ (a director with experience in Hollywood) talent to demonstrate that France can also produce mass-appealing shark films. Collaborating with his frequent actor pair Bérénice Bejo and Nassim Lyes, Gens aims to deliver an impressive spectacle. While the concept is promising on paper, unfortunately, the final result does not live up to our very high expectations.
The project had all the necessary elements to create a compelling mix. Imagine a French shark film set along the Seine River during a triathlon event, scheduled for release just weeks before the 2024 Olympics. The timing is particularly noteworthy, given that both Emmanuel Macron and Anne Hidalgo are expected to participate in an event at the largest pool known for its E-coli bacteria concerns. Adding to this, the film is directed by Xavier Gens, a director with a background in horror cinema who has also worked in Hollywood and developed a passion for action films while collaborating on “Gangs of London” with Gareth Evans. Having previously directed “The Raid” 1 and 2, Xavier Gens demonstrated his ability to improve his craft, as evidenced by last year’s release of “Farang,” which, despite its imperfections, was full of enthusiasm and energy.
TROUBLED IDENTITIES
There are several issues with “Under the Seine,” and for me, it is not the filmmaking that stands out as its strength; I will elaborate on this shortly. What completely ruins the film is the screenplay—I am not referring to the story, which fits well for this type of flick. Rather, I mean how “Under the Seine” is narrated. Its storytelling, dialogues, characters, and often absurd situations that could have worked if the film didn’t take itself seriously. There are only two ways to make a shark movie in reality: either you follow the legacy left by “Jaws,” constantly frightening the audience with vertiginous images and realistic shark attacks, or you opt for the pastiche, the big cheesy disaster like a “Sharknado,” as long as you deliver a good, over-the-top spectacle. But “Under the Seine” does not know which way to go. Overall, it is a very first-degree film with an earnest ecological message it tries to defend, albeit clumsily, but it does attempt to do so. At times, unexpectedly, Xavier Gens dives into broad comedy, especially during the attack scene in the triathlon, where he even places Monsieur Poulpe at the center of this almost farcical bubble trying to make us laugh. It works well, and it is a shame that Poulpe does not have a witty line to add to the humor, but the scene is ruined by the subsequent sequence returning to the very serious tone, with soldiers shooting like trigger-happy goons, causing a disaster that will change Paris forever. And let’s not even get started on the abrupt and surprising ending, proving beyond doubt that Xavier Gens was indeed serious about his ecological message. I do not know if it is Gens forcing this upon himself, or if it is the writing duo Yannick Dahan and Maud Heywang with whom he co-wrote the film, who convinced him to embrace a very 2024 or Netflix-esque spirit. But regardless, the film also accumulates the worst clichés about ecological activists.
CLUMSY WRITING
Between the blue-haired band leader, her gay friend who is a tech enthusiast and consistently wears a beanie regardless of circumstances, or the others walking with nose rings or shaved sides, I felt as though I was observing characters from the video game Life is Strange. Their actions lack credibility, especially considering that these twenty-year-old activists appear to lead a hacker group like Anonymous capable of disrupting government plans. It is unfortunate because, given how they are portrayed by Xavier Gens, it seems he does not support this basic ecological message. No, it does not work; the film misses its mark entirely. The seriousness and burlesque blend together, much like intertwining plots. Xavier Gens, Yannick Dahan, and Maud Maywang should have focused on developing their characters more, particularly those of Bérénice Bejo and Nassim Lyes, who are truly sidelined in the film. Since the shark is not the main focus and there was potential for it to be, the movie relies heavily on these two actors, but even then, Gens’ work falls short in both writing and acting. Despite being a good actress, Bérénice Bejo does not seem convinced by her role either. Whether this is due to issues with directorial guidance, lack of effort from her side, or limitations imposed upon her, it was not convincing, especially when her character is expected to cry over her husband’s accident even years later. The trauma is understandable but becomes excessive with such slight mentions of the tragedy after many years.
Regarding Nassim Lyes as Adil, the Captain of the River Police, there are complexities involved. I am among those who believe the actor can excel in dramatic roles; his performance in “Farang” demonstrated this potential, even if it was somewhat fragile. However, I am convinced that he has the capability to move beyond his established persona from “En passant,” although it is clear that he excels more as a flamboyant character than one burdened by torment. Nevertheless, in “Les Nouveaux Riches” on Netflix, he made me laugh and showcased his proficiency with comedic roles. In “Sous la Seine,” however, I did not understand the necessity of portraying him as a character scarred by his past military service, a coward who deserted his team. This portrayal neither serves the film’s narrative nor feels authentic, and it fails to resonate with the audience. What viewers like myself wanted to see was Nassim Lyes fighting a shark barehanded; that would have been memorable, as Xavier Gens has shown in other works.
SOLID STAGE SETTING
Despite some shortcomings, “Sous la Seine” offers commendable filmmaking. Directed by Xavier Gens for Netflix, the movie demonstrates skill and creativity, particularly in its underwater sequences. Gens presents visually stunning shots that are meticulously composed and at times stripped down to emphasize key moments. For instance, Bérénice Bejo’s emergence from water with a slow-motion effect, blood in her mouth, conveys a powerful will to survive, evoking the presence of a mako shark. Gens also experiments with his camera placement, adding layers of artistic expression. The underwater scenes are especially beautiful, showcasing Gens’ expertise. However, there is an inconsistency in cinematography; outdoor scenes appear less polished and resemble those from a French television series, creating an incongruous feel. This discrepancy suggests a disparity in vision, as if two directors were involved, impacting the film’s coherence.
The special effects are similarly inconsistent. All underwater scenes are successful, featuring credible and well-crafted sharks. However, once the sharks emerge from the water, they become low-cost CGI, marking a significant drop in quality. This contrast is evident throughout various aspects of the film, including the plot, tone, photography, and visual effects. It is clear that “Sous la Seine” had great potential but fails to execute it properly. The silver lining is that as a Netflix release, viewers do not have to spend money on it, only their time. The film’s imbalance, fragility, and contradictions make it difficult to recommend. While I anticipate my colleagues in the press will also critique the movie harshly, I remain convinced that with better adjustments and ideas, this country has the potential filmmakers capable of creating grand spectacle cinema, as seen in “The Count of Monte Cristo.”
