A radical attempt. A pursuit of manhunt. A revolutionary transformation. Orizzonti Extra selection Le mohican by Frédéric Farrucci is a run for a much-needed upheaval that bursts with nobility.
The grass on the pavement grows wildly with every inch of water and sunlight that passes through its system. There isn’t a need for it to call for assistance or seek authorization to grip the soil. The grass eventually carpets the land, and its luscious green leaves welcome the inhabitants of earth with open arms—until everyone starts digging to see if there is a golden egg buried at its roots.
Joseph (Alexis Manenti) is content with the way his life has unfolded. He is a diligent goatherd on the Corsican coastline, devoting his time to meeting the needs of his goats, supplies, and the entire farm enterprise. He is the last of the Mohicans, and he owns a land that provides him with the valor and willpower to pursue his ongoing ambitions. When a mafia arrives, they disrupt Joseph’s meticulously maintained work, intimidating him to sell the land to make way for development. Joseph’s steadfast refusal to comply infuriates the oppressors, leading to a tragic outcome. This initiates a manhunt, driving Joseph to declare, “Come hell or high water, I’ll never stop sprinting,” even in the literal sense.
Frédéric Farrucci’s visualization of chase and perdition resurfaces after his 2019 film, Night Ride, which was nominated at the 2021 César Awards. This film explores a contemporary power struggle as a nobleman strives to preserve his identity by cherishing his possessions and upholding the legacy of his family. Joseph views the land as part of his family, where years of commitment and preservation have bonded him with a deep affinity, as an establishment that embodies his way of life. Director Frédéric Farrucci tweaks this attachment into a conflicting war involving influential men, with far-reaching consequences for afflicted individuals due to the complex social hierarchy involved. Perhaps it’s a spinoff of Jim Sheridan’s The Field, in the style of Nicolas Winding Refn, featuring slow-burning revelations against a backdrop of rapid economic profitability and political authority. Imagine it as a realm of rivalry, where individuals lose their empathy in a survival-of-the-fittest mindset.
In the context of progression, Joseph’s niece, Vannina (Mara Taquin), represents the reformed generation, who crave social and political advancements within the younger society. Frédéric Farrucci highlights the growing need for a revolution in the spirits of these younger individuals and supports the ongoing movement by using technology and social media as mediums of vigilance and attention, which act as both triggering and supportive forces for the community. The younger generation seems to oppose the abuse of power that has impacted their families for generations.
Le mohican is a transmitter of reformation, subtly instilling in people the idea of a revolution—the need to claim what is rightfully theirs. Embracing the pursuit of power to achieve financial wealth and pride presents a repetitive challenge, but the necessity to break the cycle becomes increasingly evident, as some individuals choose to maintain their attachment to their possessions as a means to a brighter future.
Eventually, the manipulation erodes the values of mankind, advocating for a retreat from greed. It’s a question that lingers in the minds of those craving resolution, just like Joseph’s gaze at the sea as he contemplates a million ways to change the harsh world, thinking, “Can there be a real change?” Frédéric Farrucci audaciously shows us a “Yes, there always will be” moment through a man of integrity whose legacy lives on as an icon of honor.
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