Claire Denis’ “The Fence” Grapples with Colonial Ghosts in Tense New Drama
Toronto International Film Festival – Renowned French director Claire Denis (“White Material,” “Great Work”) returns with ”The Fence,” a simmering, theatrical drama that confronts the lingering tensions of colonialism in contemporary Africa. Premiering at the Toronto International Film Festival, the film, adapted from Bernard-Marie Koltès‘ 1979 play Black Battles with Dogs, offers a stark and unsettling look at power dynamics, guilt, and the complexities of relationships built on unequal ground.
The film centers on Horn (Matt Dillon), a weary American foreman overseeing a remote African construction site – a location that feels less like a workplace and more like a relic of colonial rule. His fragile peace is shattered by the arrival of his young British girlfriend, Leonie (Mia McKenna-Bruce), and the potential cover-up of a worker’s death.
Denis, known for her visually poetic style, takes a different approach with “The Fence,” prioritizing dialog and performance. While this shift occasionally feels stage-bound, it allows for compelling turns from the cast, especially McKenna-Bruce, fresh off her acclaimed role in “How to Have Sex,” and the captivating Tom blyth. Their chemistry crackles with a sensual tension that is a hallmark of Denis’ work.
Blyth plays Cal, a volatile presence who disrupts the budding romance between Horn and Leonie, and becomes a suspect in the death of a local worker. The victim’s brother, Alboury (Isaach de Bankolé, a frequent Denis collaborator), arrives seeking justice, embodying a quiet but powerful moral force. De bankolé’s performance is particularly striking, portraying Alboury as a figure who stands firmly on the side of the marginalized, refusing to allow the incident to be swept under the rug.
“The Fence” isn’t a cozy watch. It’s
