Film

Shepherds (2024)

Sophie Deraspe

5/5

Ode to a way of life

A young Québécois Mathyas, played with infectious enthusiasm by Félix-Antoine Duval, leaves his marketing job in Montréal to find purpose as a shepherd in Provence. Based on Mathyas Lefebure’s semi-autobiographical novel D’où viens tu, berger? (Where do you come from, shepherd?), this moving film delves into the passion and practicalities of a life of a shepherd in contemporary France. Shepherds (Bergers) won Best Canadian Feature Film award at the Toronto Film Festival in 2024. Canada has a thriving film culture which is thankfully not overly commercial in its priorities and it is always exciting to see their new releases. Sophie Deraspe tells this story of the clash of dreams and reality with great sensitivity, a lovely pace and superb shots of the mountains. Some of the people in the film are locals, but the actors equally convince, however far-fetched the premise of a city boy with a dream to become shepherd.

‘Transhumance’ is a beautiful word. You think of ‘transcendence’ and ‘transience’ before you land on its real meaning, the ancient practice of moving livestock seasonally from lowlands in winter to highlands in summer. Such an abstract-sounding word for something very physical and practical. The film shows us the spiritual side to this tough, at times brutal, but free life without eschewing its realities. The sight of an ‘ocean of sheep’ snaking thought a grand mountain valley, shot from above, represents this idealistic and soothing re-immersion of man into the natural world. Often just this temporary awareness of something that transcends us, humans, can bring perspective to our ordinary lives devoid of purpose.

Félix-Antoine Duval shines as Mathyas, an open-minded young man with an easy charm and a lovely smile who gradually has to face what it really means to pursue his dream. In the moments when he encounters possible setbacks his face reflects his calm and somewhat naïve consideration of new developments. His disarming openness to new experiences gives him a better chance to succeed in fulfilling at least in part his perhaps unrealistic plans. Solène Rigot as his girlfriend also convinces with her ease on the screen. Their unlikely pairing contributes to the charm of the story.

The farmers are initially suspicious of the city boy from Quebec, but quickly give him an opportunity to learn. We witness farmer’s frustration and anger trying to survive hand to mouth. When the elusive wolf decimates the flock in the mountains, the owner is not pleased and blames the shepherds, but ultimately wolves are only obeying their nature, and shepherds can’t always protect them out in the open.

There are magical scenes with large flocks directed through little towns and valleys, also upsetting ones when animals are mistreated or killed. Transhumance is a very important part of the agricultural calendar in Provence to this day. After all, many wonderful foods emblematic of Provence still exist because of this tradition. The film attempts to make us feel and understand the logic of this ancient practice and succeeds with gentleness. The beautiful classical pastoral score by Philippe Brault enhances the feel-good experience of accompanying the flocks on their seasonal journey.

I like that this film does not try to ram in an ecological point of view. Instead it shows us some of the realities of farming with compassion. Some would probably criticise it as too romantic, but the confident direction ensures sentimental pitfalls are avoided and the final cut is sleek and feel-good while embracing reality. It is refreshing to see this rare and unusual topic treated so well for contemporary audiences.