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“The Tree” (Australia / France, 2010)

  • 執筆者の写真: kayukawa-clinic
    kayukawa-clinic
  • 6月24日
  • 読了時間: 2分

更新日:7月3日







© photo: Baruch Rafic – Les Films du Poisson / Taylor Media – All rights reserved – 2010


For Japanese audiences living in an island nation, the sight of an entire house being loaded onto a trailer and racing across the vast plains is astonishing. At first glance, The Tree—set beside a majestic fig tree—might seem like a pastoral tale reminiscent of Little House on the Prairie, but that couldn’t be further from the truth.

The story begins with a tragedy: the father of the family dies suddenly from a heart attack while driving his truck. The family is devastated by the loss of its pillar and is engulfed in grief. The mother falls into a state of despair and depression. She is portrayed by Charlotte Gainsbourg, one of France’s most iconic actresses. The daughter, perceptive beyond her years yet still full of childlike innocence, keenly senses the emotional shifts of those around her. The death of the father—a tragedy that could strike any ordinary family—is depicted with raw realism as the family gradually navigates the painful path toward healing.

Why is the film titled The Tree? The towering fig tree beside their house becomes a powerful symbol: the daughter comes to believe with unshakable conviction that her father has been reincarnated as the tree. Meanwhile, the eldest son, a high schooler, works part-time for a kind-hearted man who eventually begins a romantic relationship with the mother. While the presence of a new man may help the mother begin to rebuild her life, the daughter cannot accept a stepfather. The film escalates into a fierce emotional battle—should they cut down the fig tree that threatens to destroy their home, or keep it as the embodiment of the deceased father?

The struggles of a wife and her children, each grappling with loss in their own way, are deeply moving.

Separation from a loved one is an unavoidable part of life—and sometimes it strikes without warning. Yet the film is suffused with warmth, offering a gentle affirmation of the joy of living.

Japan has entered an era of population decline. Outdated slogans like “It’s great when the husband is healthy and away from home” no longer resonate.


Rating: G

Promotion: Espace Sarou

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