2023 TRIBECA FILM FESTIVAL REVIEW!
Jean (Edson Jean) is on a mission, but that mission is quickly sidelined when he sees his crush–Minouche (Nagela Lukacs). Now he needs to learn how to dance in order to impress this woman, in order to win her over. With more than others might understand on his plate, Jean must determine what is most important to him in this world. Minouche becomes his Konpa (compass), the one that guides him through the night and into an oasis.
It feels that the narrative present in Konpa is straightforward and easy to understand–and while it’s certainly easy to understand, there are layers that don’t initially present themselves to viewers. These layers help to create something that so powerfully mirrors the real world, that so brilliantly allow real life to sneak into every crevice of the story. Writer-Director Al'Ikens Plancher is very much in tune with reality, and it seems obvious to say that he subscribes to the idea of realism as his filmmaking style. I can’t imagine anything else in regard to Konpa–as this realism nestles itself into the hearts of viewers, allowing them to understand every aspect of the film from beginning to end.
There is certainly a cultural divide that exists within the film–and there will be groups of individuals that aren’t necessarily able to fully understand some of the things that occur, but that’s another example of when Plancher’s employment of realism throughout the course of Konpa allows viewers the ability to appreciate the film and its content.
Cinematically, Konpa is just as beautiful as the narrative itself. Light plays such a prominent and attractive role in the film–and it continues to add depth to this story and the film as a whole. The juxtaposition of light and dark creates a vibrancy that transcends the entirety of the film. Intensity survives throughout the course of the film, and it’s something that doesn’t relent–but the use of light creates something fun that helps to develop an effective balance. While the drama and intensity survives throughout, never taking a backseat to any other aspect of Konpa, the fun that is inserted into the narrative adds depth and flavor that keeps the film from becoming too drab or too overwhelming.
Just like the juxtaposition of light, there is a juxtaposition in the set design as well. Viewers travel very quickly from a simple corner-esque store into a club-like setting in which adrenaline pumps through the veins of the film. We move from simple to sexy (and then to another location that I won’t spoil) at such a quick rate–and this is another decision that Plancher makes that allows viewers to step into the shoes of Jean and understand the content present in Konpa. The film remains grounded in these moments, as we transition from place to place–and it reminds us that real life is a whirlwind of emotion and change–never relenting, regardless of what lies before us.
Konpa has the unique task of spending its entirety trying to bridge the gap between its content and its viewers. On the surface the film appeals to one niche group of people–but Plancher finds a plethora of ways to present the content to a range of viewers and allow them to see every piece of it. He accomplishes this without a doubt–and he creates Konpa, a film for everyone that blends visuals and tones in a way that allows everything to play out beautifully.
Written & Directed by Al'Ikens Plancher.
Starring Edson Jean, Nagela Lukacs, Marie Lafalaise-Noël, Lesly Chery, & Makisha Noël.
⭐⭐⭐⭐⭐⭐⭐½/10
