At the beginning of World War I, a Belgian farmer fights to save his family and fellow villagers from a ruthless German soldier. The last front depicts the gruesome slaughter of innocent civilians with unabashed realism and a poetic contrast to their gentle, bucolic lives. Director and co-writer Julien Hayet-Kerknawi weaves Terrence Malick into the story as we hear both a conflicted protagonist and the inner thoughts of his cruel adversary. War forces peaceful people to violence while feeding the worst instincts of a merciless invader. The last front may not succeed in all facets of its artistic intention, but it is a strong emotional experience.

In August 1914, Commander Maximilian von Rauch (Philippe Brenninkmeyer) leads a battalion of German soldiers towards rural villages. His son, Lt. Laurentz (Joe Anderson), sees no difference between enemy soldiers and civilians. He executes women and children after one of his men is shot by a sniper. Rauch rebukes Rauch for such acts and his angry temper. With such a callous murder, they risk making everyone their enemy.

Several miles away, Leonard Lambert (Iain Glen) sadly remembers his late wife (Trine Thielen). He watches Johanna (Emma Dupont), his dutiful teenage daughter, working in the fields and doing laundry. Where has his son disappeared? Adrien (James Downie) lies under a tree, reciting poetry to the lovestruck Louise (Sasha Luss). The daughter of the town’s rich doctor (Koen De Bouw) knows that both her fathers would disapprove. Adrien doesn’t care. They’re going to get married anyway.

Gentle lives destroyed

Leonard goes to town at the behest of Father Michael (David Calder). Everyone knows the Germans are coming. People are afraid and will surely turn to Leonard when the enemy arrives. Leonard has no interest in war. He must harvest his fields and control his errant son. Leonard returns home to talk sense into his son and Louise. Their conversation is interrupted by Johanna’s piercing scream. A German soldier has her in his power.

The last front does not lump all Germans together. Rauch believes in the rules of war. He is appalled at what has become of Laurentz, but does not dismiss him from his service. A harsh verbal reprimand cannot stop the rampage. The drunken, belligerent Laurentz thinks his father is an old fool. They suffer losses because the locals are traitorous collaborators. Everyone is a fighter who must be appeased by any means necessary. They are less than human scum who deserve what is coming to them.

Leonard, like many of the villagers, naively hopes that the Germans would distinguish between them and the Belgian army. He could never have imagined that they would be massacred like animals. The scenes are hard to bear. Hayet-Kerknawi, who adapted the feature film from his award-winning short film, doesn’t mince his words when he shows the brutal looting of an idyllic paradise. Where once there were picturesque streets, now lie the corpses of the terrified.

Forced to fight

Haunted by his wife’s presence as he tries to kill, Leonard must fight against his nature to match Laurentz’s unbridled sadism. Glen, a revered actor full of screen gentleness, brings a whole new dimension to Hayet-Kerknawi’s script with captivating body language. You see him physically transform from paralyzing fear to deadly determination. This change is admittedly stirring and achieves that goal, but needs to be better portrayed. He takes charge, as Father Michael hoped. But the film never explains why Leonard was so respected by the villagers, despite being portrayed at the beginning as someone who minded his own business. The last front The second act is predictable, with Leonard rising to the occasion in the bloody situation.

Louise embodies the will survivors need to carry on after the unimaginable. A life of privilege and real love is torn to pieces. Her character development is utterly compelling and truthful. Those fleeing war must save themselves but continue to be haunted by the loss of loved ones and the horrors they have witnessed. Hayet-Kerknawi gives Luss a stunningly dramatic monologue towards the end of the film as she tries to hide from Laurentz’s men. How can such a beautiful day in nature be stained with the blood of such terrible hatred? Her words are a scathing condemnation of humanity’s insatiable desire for destruction. Luss continues to evolve as an actress, delivering her most dramatic performance yet.

The last front exposes the destructive power of war and indicts those who delight in its cruelty. Leonard is the expected heroic figure in an obvious narrative, but Laurentz is the most well-known culprit. He is the animal unleashed and allowed to rage in the name of victory. His father’s disappointment rings hollow when the bodies are allowed to pile up. War crimes do not occur in a vacuum. Perpetrators spread terror because they are empowered to do so.

The last front is a production of Zilvermeer Productions and The Last Front BV. The film is currently being released in limited release by Enigma Releasing. You can watch the trailer below.