Céline Roustan
Friday night family dinners can already be a whole ordeal – but when you add a conflicted relationship with a deceased father, two siblings trying to hold on to what he passed on to them, and a mother with a new partner… a simple Shabbat dinner quickly turns into a tense, life-threatening situation. With Vendredi soir (Friday Night), writer/director Nicolas Krief pens a very personal film about identity and cultural heritage, mixing comedy and genre, but with a compelling authenticity that grounds the film emotionally.
“I wanted to subvert the tropes of the classic Jewish family comedy and play with genre cinema to create something unique”
The themes present in Friday Night are essential in Krief’s work, and he confessed that this short came “as a response to (his) previous film, Opération Carcajou”. Explaining that “this time, I wanted to make a film about my sister and me today, and the lasting impact of our father’s action”. The filmmaker also expressed a desire to “subvert the tropes of the classic Jewish family comedy and play with genre cinema”. In just fourteen minutes, Krief cleverly and subtly packs the film with backstory, giving the narrative an authenticity through the complex and nuanced dynamic of the on-screen family.
Working with DP Christophe Dalpé and editor Sophie Benoit-Sylvestre, Krief strikes just the right balance to convey a homey, comfortable atmosphere, while also creating a sense of threat. The genre elements are what make the film fun and entertaining, but they also serve a deeper purpose: to push the emotions and allow the characters to reveal themselves. While the situation grows increasingly intense, the release finally comes from the siblings being honest with each other. This heightened, dramatized take on a family dinner proves highly effective and hits the different layers Krief aims to capture.
Lyna Khellef stars as Rachel as she tries to host a family Shabbat meal
At its core Friday Night is an identity quest centered on two siblings as they attempt to make up for something/someone that’s missing. Despite the specific situation, the story has a relatable quality to it that makes the siblings – and truthfully, if you ask me, the mother as well – fascinating characters. But as Krief himself puts it, this is a “performance-driven film”, with lots relying on the actors’ performances. Both Madi Chirara and Lyna Khellef – who portray the siblings – are impressive in being convincing on two distinct registers: the genre one (that can be borderline too much – yet they manage to remain grounded) and the emotional one. They both wear their characters’ emotions on their sleeves, and are able to bring to the screen their vulnerabilities and what they are trying to hide from one another with a genuine sensitivity.
Friday Night made its way around the festival circuit in the 2024/2025 season and we are excited to host its online debut on S/W today. Krief is already working on a new project: his feature debut Le Prince (The Prince), an adaptation of his previous short Opération Carcajou. Currently in development, he hopes to be shooting it in 2026.