Joanie Martel gives a beautiful and nuanced performance as Babz, a “lonely but endearing ex convict” in Zoe Pelchat’s Lune. When we meet Babz, she’s recently released from prison, depressed and unsure of her place in the world. She sees life on the outside but doesn’t feel a part of it. Babz works in a diner, where she can barely make eye contact with customers, and makes friends with her virile and confident colleague Raoul.
Pelchat’s work has been described as having a “deep love of humanity” (H264, 2020) and Lune feels like it encapsulates that across the whole production. The script feels authentic, accentuated by the cast’s natural acting and Derek Branscombe’s cinematography, which has an almost voyeuristic quality to it. The audience appears to shadow Babz and witness her character growing and unfurling a long lost confidence. Whilst the cinematography is intimate, it’s never intrusive. The use of block colours and layered shadows is captivating and reflects our protagonist’s discomfort in her new world.
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Perhaps the most intimate scene takes place in a public setting; Babz gets her hair washed and styled at a salon. At first we can recognise this as an act of growth and self-care, however as the scene unfolds, it’s clear there’s some underlying emotions between the stylist and customer.
It is never revealed why Babz was in prison, nor is it necessary. We’re not interested in her past, and accept her on this new journey. Zoe Pelchat’s sensitive directing is full of empathy and void of judgement throughout, allowing the narrative and characters room to breathe.
We leave Babz and her world in a better place, and as a viewer feel uplifted by her journey. There’s no big ‘happy ending’, instead Lune is a masterclass in subtle, meaningful filmmaking from start to finish.