4 Days in France

In 4 Days in France, writer-director Jérôme Reybaud establishes that almost any connection between humans, whether physically or digitally, can never truly be meaningless.

There’s something liberating about such a steady creative hand that rejects justifying the twists and turns of a storyline, which becomes in 4 Days in France something akin to cruising itself.

What makes 4 Days In France special, though, is that it’s far more expansive than its basic premise would suggest.

Reybaud’s film similarly serves as a tonic lesson in physical specifics, each location populated with richly idiosyncratic conversation partners.

Four Days in France is certainly not a character- or narrative-driven drama, an impression reinforced by understated acting of the cast. What the film does offer is gorgeous shots of the French countryside and an idea of how different gay men navigate present-day life in France, especially away from large urban centers.

If nothing else, Reybaud’s debut flaunts his knack for casting, particularly with the lead performance by Pascal Cervo.

It’s as if Reybaud wants to put in every scene and character he has ever thought of in one film, and so his two main characters get lost.