From the outset, “Gevart” does not mislead with its title; it is far from a pretentious film despite its experimental look and name.

This film was born from meeting two diametrically opposed artistic visions: Dylan Besseau and Guillaume Gevart. At the heart of this film, the ambition was to bring to life a paternal figure of one of the two directors: Arthur Gevart. With the help of Dylan Besseau, this collaboration allowed for an external perspective. The film makes us feel close to these protagonists, but we realize we know nothing about them.

While the film’s rhythm adopts a slow and silent pace and could be criticized for its fragmented and non-linear narrative choice, this is a deliberate decision inspired by the minimalist cinema of James Benning, Michelangelo Frammartino (Il Buco, Il Dono…), and Chantal Akerman. The camera, unchanging and favoring fixed shots, freezes the moment, depicting the stability of the father and doctor at the end of his career.

Nothing seems able to disturb the routine of this man who becomes aware of the passing time and the misery that can strike around the world (segment on the Yom Kippur War, the elites, and propaganda, etc.). The omnipresent sobriety throughout the film is interrupted by two musical moments, punctuated by Beethoven’s symphony.

With a brief appearance by Dominique Arz, the national chaplain of the French gendarmerie, a respected figure within the organization who seems to be very close to this bourgeois family depicted by Guillaume and Dylan, no ostentatious sign of wealth disrupts the ordinary daily life of this doctor. Arthur is a simple man; he drives a Volkswagen Up to work. He juggles his three jobs (general practitioner, retirement home doctor, and SAMU doctor) with fascinating empathy, although fatigue sometimes shows.

One perceives in him a constant desire to help his fellow man. Guillaume’s family could be considered “blue blood” (in other words, nobles), notably with the aristocratic lineage of his sister Charlotte, married to a member of the Juchaut des Jamonnières family, an old noble family from Nantes.

This image comes from the film “Gevart” directed by Guillaume Gevart and Dylan Besseau. We see mother Gevart on the left and Dominique Arz on the right.

No castles, no scenes glorifying nobility in this film, just the description of a humble man. Arthur’s trip to Belgium testifies to his simplicity: he is content with a restaurant serving sausages at an affordable price and spends his holidays with his children in a modest house.

This film, directed by Guillaume Gevart and Dylan Besseau, is an ode to simplicity. No extravagance, no ostentation, just slices of life reminding us how much life is worth living. The poetry that emanates from this film is a delicate reflection of the paternal figure Guillaume wanted to infuse into his work, with a masterful blend of 4/3 format and 35 mm film.

The universal message of this film reminds us that it is always good to take care of our loved ones and to enjoy them while time allows.