“A heart-wrenching but deeply captivating examination of the process of embracing unexpected challenges and allowing life to take its course.”

There comes a point in everyone’s life when growing up is no longer a choice, but a mandatory action that brings with it an abundance of complex challenges. Something that most are not prepared to handle when entering into the adult world, especially when forced to do it entirely alone and without any support or guidance. Hubert Charuel is fascinated by this subject, as evidenced by Météors, his third feature-length directorial outing. In the film we are introduced to Mickaël and Daniel, two happy-go-lucky slackers who are basking in their youth, genuinely believing that they are on top of the world. However, after one of their get-rich-quick schemes massively backfires, the young men are forced to face the consequences, and with their trial only six months away, they don’t have much time to set themselves back on course. This puts quite a strain on what they used to consider a lifelong friendship, especially when both of them have radically different intentions for their own lives. A poignant drama that balances some impressive themes with a unique approach to their execution, Météors takes aim at contemporary life, filtering it through the eyes of a pair of fascinating and highly relatable protagonists. Their story is bound to resonate with anyone who has ever felt lost in a world they simply cannot understand as they grow older and learn more about the path ahead.

At a glance, Météors is an effortlessly simple film, consisting of a story that lays out its intentions quite clearly and follows them with the appropriate attention to detail, while also not being too heavy-handed in its approach. Charuel explores the experiences of these two young men as they navigate that awkward space between adolescence and adulthood, which is either the period when we find ourselves and establish our identity, or when we become even more hopelessly lost, especially under the weight of social expectations that can become a burden for people who are still developing, both physically and psychologically. This film intends to capture the harsh realities of reckless youth – the characters come to realize that they may still be given enough space to cause mischief, but also are forced to pay the consequences when they cross certain boundaries. While the former is where Météors is most intriguing and certainly most entertaining, it’s in the latter that it makes some of its most substantial socio-cultural statements – showing the obstacles that come when seeking redemption, observing the trials and tribulations of these young men as they not only navigate the French legal system, but also attempt to become valuable members of their community, both of which prove to be daunting challenges for a pair of young men without any clear guidance.

Based on the subject matter, we might expect Météors to be a heavy-handed cautionary tale about the dangers of being young and reckless, designed to dissuade anyone with a penchant for playful trouble from taking their antics to the point where they have to face severe consequences. However, it doesn’t take long for the director to make it clear that he was not interested in delivering a lecture. While not entirely defined by it, the film is steeped in the social realist school of filmmaking. It is set in a small rural town, which not only provides the film with a sense of intimacy (that might have been lost had it taken place in a larger urban space), but also allows for an in-depth discussion on the tug-of-war between tradition and modernity, particularly in how the two protagonists wholeheartedly believe that they are much better than the small-town mentality that surrounds them. Météors pulsates with a unique energy, shifting between heartfelt humor and immensely challenging emotions, a cornerstone of both the social realist and coming-of-age genres. It has a madcap energy that gradually becomes more intense as the film progresses, reflecting the characters’ gradual growth, the tone becoming somber but also oddly more optimistic as they leave behind their childish behavior and instead embrace the future, whatever it may hold for them.

The absence of overwrought sentimentality and the focus on authentic, direct emotions elevates Météors and allows it to flourish as a precise yet impactful story of youth and the process of moving on to the next stage in your life. These ideas are effectively communicated by actors who understand both their individual assignments in playing these roles, as well as the broader intentions of the film as a whole. Paul Kircher has already established himself as one of the extraordinary actors of his generation – it seems that with every new performance, he is noted as a true revelation, so it is hardly surprising that he delivers a stellar performance in this film. At a cursory glance, he may seem to be treading familiar ground to other recent roles – Mickaël is a brooding young man filled with angst and undergoing a crisis of identity – but in the smaller details Kircher is tremendous, particularly in how he captures the underlying sadness and sensitivity lingering beneath the surface. He is matched beat-for-beat by Idir Azougli, another promising young actor who has already left an indelible impression in his previous work, and who may not be as much the film’s focus as Kircher, but is the surprising emotional anchor for a film that benefits massively from both of the leads and their firm commitment to developing these complex characters.  

Both in terms of narrative and execution, Météors is a tremendously well-crafted film, avoiding the tropes that we often expect from similarly themed stories, and focusing less on the lesson and more on the underlying commentary. There are moments where its intentions are quite clear, and others where ambiguity and lack of clear answers are a deliberate choice, allowing the viewer to engage and assert their own judgements or interpretations on a particular aspect of the story. Yet it never comes across as condescending or hypercritical of the young protagonists – the film acknowledges that some people may struggle to adapt to the challenges of adulthood, but rather than condemning their actions (which we do learn carry immense consequences that could change the entire course of their lives), it provides a moving depiction of their efforts to redeem themselves, while also making it clear that forgiveness is not always guaranteed. Driven by fascinating characters, a strong story that balances several complex ideas, and a vigorous approach to the filmmaking itself (the striking imagery and exceptional use of music are key components in creating a very particular atmosphere), Météors facilitates some robust debate, overcoming some of the usual clichés associated with this genre. It may be simple at first, but it eventually flourishes into a heart-wrenching but deeply captivating examination of the process of embracing unexpected challenges and allowing life to take its course, for better or worse.