Cannes 2024 (Un Certain Regard): Holy Cow (by Louise Courvoisier) | Review

There’s something appealing when I hear about Louise Courvoisier’s debut film, Holy Cow (Vingt Dieux), and its premise: a cheese-making contest. In light of this year’s Un Certain Regard lineup, I found that this simple story caught my eye the most. Will it end up like another film about a championship (be it a motocross or running contest)? But there’s so much more in Courvoisier’s character-driven film. It is a lovely, joyous, and even more, spectacular adventure that’s never less than totally mesmerizing.

A calf is seen in a car—a peculiar image to open the film—before we are introduced to our protagonist, Totone (18, Clément Faveau), drinking beers and partying with his group of friends. Life is so fun when you are a teenager. But reality hits hard when his dad is involved in a single-car crash accident. Now Totone has to take care of his 7-year-old sister Claire (Luna Garret) and find a way to make a living. He is working as a cleaner on a family’s farm, where he has trouble with their sons. Life is becoming tougher for Totone, but he has one more chance to get money: the region offers 30,000 Euros for the best Comté cheese in town. To make the best cheese, Totone needs the best milk. He then sets up a chain of sexual relationships with Marie-Lise (Maïwene Barthelemy), the daughter of his previous employer, to steal milk from her.

There’s beauty and care in every scene of this remarkable, well-written, fast-paced film, showing Louise Courvoisier’s vision with a totally clever trip. Connected to her lavish imagination and sense of place where she belongs, Courvoisier offers us persistence with a beauty that is at times rapturous. The Jura region, captured by cinematographer Elio Balezeaux, who also grew up in a rural environment, is shown in exquisite detail, vibrant color, and natural light in most scenes, offering a raw and sensual vibe. This is also thanks to her sister Ella Courvoisier (set design) and her brother Pablo Courvoisier (construction manager). Even more with music composed by her mother and her other siblings, Linda and Charlie Courvoisier, Holy Cow feels like a show-stopping tribute from Jura people, about Jura people, for people around the world. It should be watched on the biggest screen, with the loudest sound, and brightest colors possible.

From the very first scene, when Louise Courvoisier plays with contrasts in her editing, the title card suddenly appeared in silence. I shouted, “Holy Cow!” knowing that this film was going to be amazing.

Holy Cow, or Vingt Dieux, is produced by Muriel Meynard for Ex Nihilo, and co-produced by France 3 Cinéma and Auvergne-Rhône-Alpes Cinéma. Pyramid International is handling the film’s sales.

Our reporters are on the ground in Cannes, France, to bring you exclusive content from the 77th Cannes Film Festival—explore our coverage here.