The understated acting allows the character’s haunting looks to prevail too, until things chip away at their resolve then tensions spill over and effect redresses the flimsy balance. This gives an almost docu-style feel to the work, all bathed in muted cinematography. Coupled with the fish out of water scenario at the hotel – which they are ordered not to leave, the Coulin sisters do not have to overdramatise events at all, letting their characters’ knowing glances, untold horrors and quiet frustrations cultivate. In fact, the idea of never allowing the soldiers to fully ‘unwind’ interestingly puts the situation in a permanent state of incarceration, ripe for character study.Īlthough events on the battlefield are gradually revealed as things progress, through solider accounts and computerised simulation, there is still an intriguing veil of mystery as to what actually happened in the conflict zone. Thankfully, the film-makers refrain from portraying the obvious tabloid reaction between military personnel and civilians/locals in such an environment, which shows a level of maturity for the subject matter and a respect for those who fight for their country – though the anti-war cynicism is never hidden in the dialogue either. Waiting for the fallout keeps the momentum far from slack and the tension ever coiled. It’s this fascinating and quite drastic comparison – as holidaymakers party 24/7 by the pool – that makes for a heady impact.

These soldiers are ‘out of danger’ but placed in even more peril by their leaders in a place of supposed ‘rest and relaxation’ (R&R). The film then changes location with the drive to the Cypriot hotel, while the sense of alienation grows. Obviously the real drama lies ahead, but speaking to any military personnel about that moment on the plane out, they will tell you there is still a feeling of unease until you are well clear of the warzone. The opening shot of Aurore on the plane flying out of Afghanistan evokes a short-lived sense of relief.

Stationed in a five-star hotel, the women must overcome reliving the horrors of their experience and sexism from fellow male counterparts before they get to fly home. Young French soldiers Marine (Soko), Aurore (Ariane Labed) and Fanny (Ginger Roman) fly into holiday island Cyprus for ‘decompression’ (post-combat debriefing) after their tour in Afghanistan. The Stopover (Voir du pays) also addresses sexism in the military at the same time, making it a charged affair, ready to go off at any moment. The second film by the Coulin sisters, Delphine and Muriel (of 17 Girls) takes a composed but disturbing look at veterans’ post-traumatic stress disorder on the return from combat.

The layover review