Serving on the Belgian front in World War I, rookie Pierre meets leader of the troop entertainment Francis and the two begin a secret relationship in director Lukas Dhont’s romantic drama Coward.
Stolen moments at war by CHRIS DREW
4 stars
CAUTION: Here be spoilers
Opening with the Belgian troops singing together, keeping morale high during active duty is a major theme in Coward.
One of the young rookies is Pierre (Emmanuel Macchia, acting debut) – whose name we do not learn until much later – who appears less outgoing and confident than most and thus nicknamed ‘Quiet Mouse’.
The rookies are asked to build a stage for the theatrical group ‘Band of Rejects’ where Pierre meets Francis (Valentin Campagne, Colours of Time) who is the frontman of the group and sings, usually performing as a woman.
During their first meeting Francis, affectionately calling Pierre ‘the tall rookie’ pretends they are at a ball and has Pierre close his eyes to feel the son and see red apples.
Pierre is inspired to use wood shavings as snow for the performance and drops them from the loft space above the stage to much delight. At the end of the show, as the crowd’s cheers echoes below, Francis climbs up and they kiss passionately.
Later Pierre arrives when the cast are shaving their legs – to play women – and Francis asks Pierre to help him, an intimate moment as he shaves up towards Frances’ thigh and they share meaningful glances.
In a shocking moment Pierre stabs through his own hand on the battlefield and is recruited to the Band of Rejects. The performers get to stay in a house while performing and Pierre and Francis spend the night together.
Pierre asks about future plans and Francis says he will work in his father’s boutique but insists they are free in the band and does not want to lose that. Pierre’s healing hand and probable recall to active duty threatens that freedom together.
Pierre theorises that they could leave, only moving at night, and find a cabin in the Swiss or Spanish mountains. Francis is less certain of the success of the plan.
During a performance, Pierre slips out the back and waits for Francis at the meeting place. Finding a drawing of a mountain amongst Francis’ things, he walks off into the early morning alone after Francis does not arrive.
Cutting to two years later, Pierre, now calling himself Edgar, is working on an orchard until the men arrive home from war furious to find a deserter in their home.
Pierre locates Francis’ father’s boutique and finds Francis working there. Saying he needs a suit for a trip to the mountains, Francis measures him.
Pierre says he needs the suit in two weeks, giving Francis back the mountain drawing, and Francis replies “I’ll try” ending on a hopeful note.
With war as the constant backdrop, the physical toll of the soldiers tasks is well emphasised; the crushing weight of having to move a cannon, the strain of having to carry bodies from the battlefield which leaves the men heaving and panting.
The soldier’s costumes are convincing and almost every time any flesh is revealed there are battle scars, however small. In addition to impressive make-up and effects for the wounded fallen.
There are a couple of scenes of great suspense in the battlefield scenes but the rest of the soldiers never become fully formed characters once the central relationship becomes the sole focus.
Fortunately Maccia and Campagne both deliver excellent performances, for which they shared the Best Actor prize at Cannes, and have believable chemistry.
Maccia really delivers in his acting debut and carries much of the film with many close-ups of Pierre’s face. Throughout Pierre feels removed, detached from the rest of the men but always watching and Maccia captures this otherness effectively.
Pierre gradually becomes more confident and passionate, once the relationship with Francis begins, and Maccia shines in those moments too.
As Francis, Campagne excels at the effeminate singing performing as a woman and repeatedly delivers a sweet smile which makes his whole face light up.
So many gay romantic movies come to a tragic conclusion so it is pleasing that ‘Coward’ joins the minority that do not.
Coward screened at the Cannes Film Festival and as a UK Premiere at the 2026 BFI London Film Festival.
