Enzo is an intriguing choice to open the Quinzaine des Cineastes section of the Cannes Film Festival, aka The Directors’ Fortnight, because it is billed as “A Laurent Cantet film, directed by Robin Campillo”.
Co-written by the two long-time friends and collaborators, it was meant to be directed by Cantet, who won the Palme D’Or in 2008 with The Class (Entre Les Murs) That is, however, until he contracted an illness that prevented him from sitting in the director’s chair. One that he would ultimately pass away from in 2024, shortly after Campillo had completed filming.
Campillo (120 BPM) can hold his head up high as Enzo is a beautiful, tender, and heartaching coming-of-age story, and a fitting tribute to his dear friend.
It tells the story of a young man on a masonry apprenticeship, looking to rebel and break away from his family’s expectations. Instead, desperate to build something for himself. Enzo will discover, however, that his desires are constructed on shaky foundations.
Suffocated by the weight of his father’s expectations, he cannot express himself verbally. Often lashing out instead. Born into a family, and generation, of men who are unable, or unwilling, to openly discuss their feelings. Or what they truly desire, whether their education, career… or love.
That outlet comes in the form of Vlad. A handsome, charismatic co-worker, originally from Ukraine, who somewhat begrudgingly takes the young apprentice under his wing. A potential mentor, confidant, and wingman. Yet the impressionable, naive Enzo sees something more. Will it be reciprocated?
As the days get hotter and the work gets harder, Enzo’s situation becomes a powder keg ready to ignite at the slightest spark. The buzz and hum of the crickets and insects increase in volume, adding to the simmering tension. Campillo instils the frame with a palpable sense of impending tragedy. The passing sight of a firearm at one of the workers’ apartments will have audiences familiar with Chekov’s Gun pointing at the screen like the Leo meme from Once Upon A Time In Hollywood.
Yet any signposting towards a less-than-happy ending for the eponymous character would not matter one iota if the viewer had no empathy with them. Thanks to Eloy Pohu, in his film debut, you are completely invested in Enzo’s journey and development.
This is a stunning, true breakout performance from this young actor. He holds the screen at all times. Even when sparring with a veteran like Pierfrancesco Favino, who plays his controlling father, he gives a strong, sad, and often silent performance. The character has a talent for art, and they say a picture is worth a thousand words. Pohu is capable of conveying so much, with so little. A longing glance here, a tentative hand gesture there.
With the central relationship featuring an impressionable youth searching for something, and an attractive, older man providing, temporarily at least, some of the answers, the film will likely draw comparisons to Call Me By Your Name. Albeit without the defiling of any fruit. It is easy to see the similarities. Both relationships culminate with a phone call in Italy, for example.
And yet Enzo can succeed on its own merits. Like the blueprint for a house, the films have the same foundations, yet Cantet and Campillo designed a completely different architectural marvel. One that will stand the test of time. Both as a fitting endnote to Cantet’s career, and the start of Eloy Pohu’s.
Enzo had its world premiere at the Cannes Film Festival
Rating: 
Director: Robin Campillo
Stars: Juliette Armanet, Bastien Bouillon, Tewfik Jallab, François Rollin, Dominique Blanc
Runtime: 102 minutes
Country: France/Belgium/Italy
