Kanaval

Directed by Henri Pardo, Kanaval follows Penande Estime’s Erzulie as she and her young son (Rayan Dieudonné’s Rico) flee to Canada after a violent event in Haiti – with the movie detailing the pair’s (but mostly Rico’s) efforts at fitting in within an entirely new culture. It’s familiar yet compelling subject matter that’s employed to progressively lackluster and tiresome effect by Pardo, which is a shame, ultimately, given that Kanaval opens with a fair degree of promise – as Pardo has infused the proceedings with an intense, cinematic atmosphere that’s heightened by the inherently engaging nature of the protagonists’ difficult journey and exploits. There’s little doubt, then, that the picture’s downfall is triggered by a meandering midsection littered with missteps and pointless digressions, with this particularly true of the many, many dream-like interludes that dominate the narrative’s padded-out second half. It is, as such, not surprising to note that forward momentum eventually becomes non-existent, and the film eventually builds towards an absolutely interminable final stretch that contains little, if anything, worth embracing – with the end result a well-intentioned misfire that’s hardly as moving or impactful as Pardo has obviously intended.

*1/2 out of ****