paul2001sw-1 Andrew Stegall's film 'Departure' tells the story of a son and his mother under pressure when they have to sell their holiday home in the wake of the break-up of her marriage; and simultaneously, of the son's nascent interest in a local youth. At times, we're dangerously close to Joanna Hogg territory (and I don't mean that kindly), but the characters are mercifully drawn with more warmth and we're allowed enough of a glimpse of the back-story so that the film makes sense. It's still not quite right, however, with alterations between sections that are well-crafted, dull Hogg-like periods where nothing happens save for the characters sulking in their misery, and occasional moments oddly presented as ephanaic in a way that jibes with the mood of the rest of the film. It's not awful, but I found it hard to get engaged.

Wendy Godsend Have you ever watched a film and ended up frustrated to see that nothing in the characters' lives significantly changes by the climax?I'll cut to the chase, short and sweet: Departure is depressing, but not in a moving, atmospheric sort of way. It's not an accomplishment. It's sad in the same abstract way as a low-resolution image of a ham sandwich in a dim room or a bowl of cereal without enough milk.It's a complete failure of executing a simple idea, feeling simultaneously anxiety-inducing and bland; following the dialogue is a nightmare, almost hilariously so, and I am still uncertain whether awkward, nonsensical conversations are intended as surrealism or simply bad writers doing what they do best. It's almost as if the characters simply cannot hear each other speak and go off on spontaneous tangents about nothing.I found none of the characters engaging or even deserving of sympathy, and the relationship between the two main boys is forced and anticlimactic, never quite reaching any sort of pivotal point.Stoic, unimpressive acting, depressing atmosphere, and zero progression after nearly two hours of material. I'd rather slap myself than watch this again.

langdon_rb This is quite a dreary film, a rather awful way to experience 1 hour and 49 minutes. These get to be rather long minutes, as this is Art Film writ large in all the wrong ways. It is the story of (1) an aging English woman, a mother, who has never found the pulse in life, (2) her adolescent son, somewhat effeminate, who is or aspires to be a writer, and (3) a troubled young French man (or late adolescent) who is living with his aunt in the south of France while his mother is seriously ill back in Paris. The characters all live wooden lives, are walking breathing sacks of misery, and they know it. Apparently, the writer/director thinks that this misery is so precious that the film can stand on it alone; hence, we spend many long moments simply watching faces and postures of these characters while they are feeling crushed by life. Other stretches are considerably more disturbing or cringe-worthy. The only joy in this film is entirely passive: we are provided many opportunities to savor the rather somber beauty of rural Languedoc in autumn.

lorenzo-tardella Last year there was only one film that completely shocked me, that put in turmoil the brain and heart, occupying a place for a very long time. It was MOMMY, by Xavier Dolan. DEPARTURE had a similar effect on me. It's a small film, independent, a debut. And perhaps for all these three reasons, there is an urgency so sincere to tell this story to make its strength and its power literally unstoppable. DEPARTURE is a wonderful piece of cinema, which reveals a great director of the future. Powerful, bright, completely honest. Well written, well directed, well played. It comes from the heart. And it goes to the heart.