Review of ‘And Their Children After Them’: A Youth Melodrama with an Overblown Crime Narrative

Nicolas Mathieu’s 2018 novel, “And Their Children After Them,” which garnered France’s top literary honor, the Prix Goncourt, depicts a coming-of-age narrative set despite severe deindustrialization. Influenced by figures such as John Steinbeck, Émile Zola, Bruce Springsteen, and the film “Mud,” Mathieu’s work delves into the struggles of working-class youth.

However, the film adaptation by Ludovic and Zoran Boukherma, while nodding to Springsteen, falls short in preserving the novel’s complex literary influences. The Boukherma brothers, previously recognized for their innovative genre-blending in films like “Teddy,” have aimed to capture mainstream success with their adaptation.

Yet, their effort, titled “Leurs enfants après eux” in its original French, resembles Gilles Lellouche’s “Beating Hearts” in its depiction of a deteriorating industrial town, but lacks the latter’s raw authenticity.

Set in 1992, the film chronicles Anthony (Paul Kircher), a disillusioned teenager eager to escape his bleak town. His aspirations lead him into conflict with Hacine (Sayyid El Alami), a volatile youth from an immigrant family, over a stolen motorcycle. This act of petty vengeance spirals into a series of dramatic events that entrap Anthony and his family in a cycle of humiliation and retaliation.

As the narrative reveals over three summers, the film struggles with character development. Anthony, Steph (Angélina Woreth), and Hacine come across as one-dimensional, with the film’s attempt to tackle racial and socioeconomic issues proving superficial.

The cinematography by Augustin Barbaroux and period-accurate design are visually striking, but the film’s excessive use of ’90s rock music often feels excessive and undermines its emotional impact. The adaptation’s grandiose approach eventually overshadows its narrative depth, resulting in a visually impressive yet emotionally hollow spectacle.