A colourful but repetitive introspection of the Legion. The setting is mainly in French Djibouti with occasional soul searching visits to Marseilles , where the Colonel muses over his obsession about a young recruit. Every scene is of a troop of recruits exercising, each scene is repeated over and over. There is little progression in the action until the object of the Colonel's interest disappears into the desert and is found by locals barely alive. Thats it!
The film evokes France's colonial past (it is filmed in Djibouti) and it is a sum total of Claire Denis's thoughts on isolation, exile and post-colonialism. It questions received ideas about collective identity, be it national, colonial or patriarchal, questions that are worked through in the elite military force of the French foreign legion represented in the film. Beau Travail focuses on image rather than dialogue, but the music is never just a background: it helps compose a rich and sensual cinematic world. There is also the issue of political engagement in its referencing of one of its main sources: Jean-Luc Godard's Le Petit soldat, 1960. The association of Beau Travail with Le Petit soldat is made clear through Michel Subor's presence as the commanding officer Forrestier, Thirty years before Beau Travail, Subor played a French deserter also called Forrestier in Godard's film which was an evocation of the effects of the Algerian war. Denis's stylised approach to the image should not be confused with a glorification of colonialism but rather an investigation of the myth of the legion: while she reveals its seductions, she simultaneously uncovers the systematic disavowal of identity as difference and the denial of its own obsolescence which are necessary for its continued existence.
The final scene lets everything go—90 minutes of tension, then a burst of feeling like an unspoken scream.