Anuj parachuted in just in time to wave at Don before the movie began. (I received the clandestine codes: spongecell and backpack. shhh)
“There’s something hidden in the long, static closing shot of Cache&emdash;a clue, an answer, a red herring, an epiphany. It’s embedded deep, somewhere back in the shadows&emdash;or, perhaps, it’s right up front, hiding in plain sight. It vastly alters everything that preceded it, demanding a total reevaluation of the film&emdash;or it just further complicates this already profoundly inscrutable mystery. It is a conclusion both languidly drawn out and violently abrupt, stunning in its simplicity, infuriating in its opacity.”
It kept me tense, that’s for sure. Was the entire movie made for one scene? And who made the videos? Why does it matter who made the videos? Majid is dead. Is he dead because of the videos or for another reason? Why now? Re-traumatization after he obviously had managed to make a life for himself? or is the point what hell wreaks itself upon a guilty conscience? Is it better to whet one’s soul on the sharp edge of guilt or pass let it pass disinterested into the maw of forgotten memory?
What was hidden, besides a guilty conscience? A possibly illicit attraction? A nation’s neglect of an immigrant population?
I wondered about the boy whose house Pierrot winds up at overnight, unannounced. I thought it was him (Francois?) engaged in animated conversation with Pierrot on the school steps in the final scene but apparently it was Majid’s son: “The last shot in the film is of his son and the son of Moroccan man who once lived with the protagonist as a child.” Did they plot together? A younger generation in cross-ethnic alliance against the deeply-buried sins of their parents?
To cap the undecidable weirdness of the evening, as we walked to the car afterwards, a young man with wild hair and clothing strikingly akin to Pierrot’s strolled by in the cool spring-ish night air. We had just been talking about ghosts . . .