‘Murder in Pacot’ can often be an overwrought drama, but the actors at hand, particularly Joy Olasunmibo Ogunmakin, captivates throughout this bloated 130-minute film.
Rating: 3/5 stars
Actors can often make or break a film. The greatest screenplay on Earth is nothing if in the wrong hands, while even the weakest of scripts can be salved somewhat by extraordinary performers. While Raoul Peck’s Murder in Pacot falls far from either spectrum, it is, indeed, the stars at hand saving what could have been an overwrought and hyper dramatic narrative and turn it into a somber reflection on change and lost.
Preceding a devastating 2010 hurricane, a once-privileged Haitian couple (Joy Olasunmibo Ogunmakin and Alex Descas) finds their comfortable home in ruins and their adopted son missing. Forced to rebuild what they can so as to not have their previously luxurious home demolished, they need quick money to pay for repairs. As such, they rent out their only remaining room to social worker Alex (Thibault Vicon), who creates even more drama when he attracts the attention of a young mistress (Lovely Kermonde Fifi).
Murder in Pacot continuously bounces between extremes, as the narrative shifts from pulseless to nearly ludicrous in any given minute’s notice. While not without some good intentions and interesting character build-up, Peck’s screenplay—also co-written by Lyonel Trouillot and Pascal Bonitzer—never creates a cohesive consistency so as to make a fully dynamic narrative. There’s rarely a thematic middle ground, with different ideas and character traits found-then-dropped in a moment’s notice.
Of course, this is where the actors’ fine work comes into play. Each primary actor gives a sympathetic or dictated nuance to his or her character. They are never afraid to push themselves or see where they can go, and this level of commitment makes even the most temperamental character arcs have some tension or captivation.
Ogunmakin, however, is the true shining star. Every moment she’s on screen is more electrifying than the last, and her soul-searching, heart-wrenching work is mature, layered and deeply gratifying. Her eyes speak so much pain and so much confusion in mere moments. When she confesses her emotions—either through words or shuttered facial mannerism—you see the weight and sorrow of her situation vividly. It’s truly electrifying and haunting work.
Murder in Pacot speaks the loudest during its quietest segments. Although Peck’s prone to have his characters talk, shout and/or scream multiple times, when he lets them sit to think, breath or reflect, there’s often a resounding effect to that given character’s journey. It speaks volumes not only because it feels honest, but also because it lets us study these characters and their expressions.
Peck often mistakes himself into thinking he needs to explain everything out, which often boggles down his 130-minute feature. Murder in Pacot is a bloated, sometimes misconstrued bottle film, but it does have its merits. Whether by accident or through working on his film does Peck find some semblance of rhythm, and that’s largely thanks to the control he restraints. He never gets too intrusive as a director, letting some moments breathe in control digression as the plot studies the transition from heartache to understanding in baby step formation.
There’s enough thought and care given to the backdrop and forefront figures to make this come together. When it wants to be, Murder in Pacot can be an aching look at pain, misfortunate and revitalization. However, it only rarely accomplishes such a task. If it were to figure out how to train itself and dial back the overbearing plot threats and social politics, there would be a fantastic character drama here. As such, it lies buried like the rocks that were once this couple’s house. In its wake, it leaves a film that’s mostly just pretty good, if that.
