With incisive wit, Testament is a funny and sweet look at what happens when the world has passed you by. In some ways, Testament feels like two films. On the one hand, it is an endearing romance that reminds us that it’s never too late to start again. On the other, it’s a sharply-written satire on the current culture wars and the ways that we engage our history.
Written and directed by Denis Arcand, Testament tells the story of Jean-Michel (Remy Gerard), an elderly bachelor who lives in a local retirement facility, led by Suzanne (Sophie Lorain). At age 73, Jean-Michel has been an accomplished author and well-respected gentleman within his community. But, outside the walls of his home, he feels as though his time in the world has come to a close. Suddenly, his peaceful domain is shaken when a group of political activists arrive to protest an ancient mural depicting hurtful interactions between Indigenous people and Europeans. As he helps Sophie endure the firestorm of political correctness, Jean-Michel begins to realize that his feelings for Suzanne may be more than he’d believed.
Anchoring Testament is a strong performance by Girard. As Jean-Michel, Girard delivers a heartwarming performance of a man who remains sincere in his actions and beliefs, but also left behind by the world around him. In many ways, he is the rock in the midst of a storm. Having lived his life, he recognizes that the world has changed greatly and few people are interested in hearing his voice anymore.
But, unlike most other characters of this nature, Jean-Micheal is far from bitter. Instead, he is remains confident and compassionate as he looks for caring souls who are willing to listen to his point of view.
What makes Testament so interesting though is its willingness to engage the double-edged sword of a culture that is angry with history yet wants desperately to heal from mistakes of the past. Much of this is seen through the eyes of Jean-Michel as a man who has become lost in a sea of change. He may be honoured as an author for his body of work yet his voice is irrelevant in a multi-cultural world. Confused by modern gender pronunciations and endless protesting, his only response is that it makes things ‘confusing’. To him, the world has become an angry place where everyone’s opinions create nothing but division.
Fueled by irony, Arcand portrays our politically-correct world as adrift. Through the character of Jean-Michel, he seems particularly interested in finding some sort of anchor that helps us navigate a time when people’s views are constantly shifting. Questions of love, family and relationships feel like a constant breath of air when everyone is fighting to speak at the same time. As such, Arcand taps into this element of humanity as an important harbour in the throes of a storm.
Having said this though, one can’t help but think that maybe Testament tackles these issues a little too lightly. While the film is acutely aware of the ironies of our politically-correct culture, so too does it play a little fast and loose with its subject matter. For example, through the examination of the mural, Testament portrays its protestors as insincere people who would march against any issue. While this tension works within the context of the film, Arcand appears to make light of a world that’s trying to figure out how to reconcile present and past as we chart a new course for the future. Is art worth protesting if it depicts an unhealthy worldview to others? Or can it be marked by time with fresh eyes that acknowledge the wrongdoing but preserve the piece itself? Admittedly, many of the characters surrounding Jean-Michel seem genuine in their compassion yet they also feel confused in a sea of points of view.
In some ways, this sort of satire works well to reveal the ironies of our culture. In others, it could also be interpreted as lacking compassion.
Even so, Testament remains a funny and sweet film. Strong performances and writing make this cultural exploration engaging and fun as it attempts to put the broken pieces of our world together. However, in its effort to point out the irony of a frustrated world, one can help but wonder if Arcand’s true Testament seems to ignore the hurts of past stories.
Testament is available in theatres on Friday, November 10th, 2023.
