Something's missing in "Lupin," and it's not a necklace
By Rachel Levin, Copy Editor
The French series “Lupin” directed by Louis Leterrier and Marcela Said was released on Netflix on Jan. 8. Full of twists and turns, the show weaves a classic mystery, following the plot structure of a classic heist movie reconstructed for 2021. Beyond its plot, though, “Lupin” disappointed in diversity and originality.
The series is inspired by Maurice LeBlanc’s “Arsene Lupin” novel series from the early 1900s, as is the show’s protagonist, Assane Diop, played by Omar Sy. Diop is a master thief on a mission to avenge his father, who was wrongfully accused of theft when Diop was fourteen.
The series surprises audiences in the first episode, and continues to enchant with daring escapes and disguises. While crippled by a very predictable villain, “Lupin” does do well in building a morally ambiguous main character that falls in and out of the audiences’ favor throughout the series. Also livening the scene is a non-linear timeline reminiscent of french new wave, with scenes set in 1995, 2006 and 2020 appearing back to back.
“Lupin” didn’t quite grip me the way a mystery thriller should, but that could be chalked up to me not speaking the language. The publicity that the series got from Netflix is in line with the streaming service’s recent focus on foreign media and diversity. Though “Lupin” was foreign, it was not as diverse as its black main character would have audiences believe. French media is not known for its racial diversity, and that stereotype held up as Diop seemed to be the only black man in France. Beyond just color, “Lupin” did not pass the Bechdel test, which tests movies on whether they have female representation— far from it. For a film or TV show to pass the test, at least two female characters must talk to each other about something besides a man. “Lupin” had about four female characters with speaking parts, none of whom spoke to each other, and two of whom were in love with Diop.
Leterrier is relatively established in the United States, directing films such as the 2008 “Incredible Hulk” and the 2010 “Clash of Titans,” but this was by far his most serious work. His co-director, Said, is a Chilean filmmaker largely unknown outside of her country, but with a portfolio of intellectual films that critique classism and corruption. This theme showed itself in “Lupin,” with a rich person’s schemes affecting working class families’ lives being the central conflict. Despite being co-directed by a woman, the series had an undeniable male gaze, especially in regards to scenes where a young Diop interacts with girls his age. Although this did not affect Diop’s characterization in any major way, it did decrease my enjoyment.
“Lupin” ended it’s fifth episode on a cliffhanger, and part two is coming, with a chance to tie up loose ends and cement itself as a mystery thriller worth watching.