France has given us two of the most charmingly original films of the year so far, both of them fond, modernist interpretations of the musical genre. First was Christophe Honore’s tale of young love in the city, Love Songs, and now Serge Bozon’s WWI battlefield fable, La France. After receiving a distressing letter from her husband at the front, a wife disguises herself as a young man and embarks on a journey to join the army and find her husband. Along the way, she joins up with a wandering band of war-scarred soldiers who find relief through their tin-can mandolins, battered guitars and endearingly out-of-tune harmonies. Recorded on-set by the actors themselves, the anachronistic melodies come from pop-psychedelia some forty (or more) years in the future. A metaphor for the escape the soldiers are seeking, their moving performances are a testament to the magical, transformative qualities of music.