Cannes Film Festival – Deadline

Understandably, the terrorist attacks in Paris on the night of November 13, 2015 have been treated with the utmost sensitivity by the French film industry, and the only other film on the lineup at this year’s Cannes Film Festival to touch on those events – Alice Vinocour Goodbye Paris – A light fictional drama that killed 130 people the night before, most of them at a rock concert in the city’s Bataklan nightclub. Although many names have been changed, due to obvious security concerns, Cedric Jimenez November In contrast, a heavy cannon that details the manhunt that followed the next five days mam police systematic.

The film begins in a surprisingly low-key way on the cover of David Bowie’s tragic “sorrow” drama in the early 1970’s, with a woman jogging along the shores of the Seine. The events of the night are seen on the screen, and although, quite accurately, we are not shown any murders, we find that Jagar, Ines (Anais Demoustier), is an off-duty policeman with city opponents. Terrorist group, and when he gets a call from the team, his push is a clear way to show how bad news actually travels. In the office, Fred (Jean Dujardin) and Hallows (Sandrin Kieberlin) are charged with an impossible task of locating those responsible for the shootings, using CCTV footage, personal surveillance and phone wires to investigate a terrorist network with links to Brussels. .

For the most part, it’s higher reconstruction content, so much so that Dujardin soon disappears into a role that basically points to exposure, maps and pictures on the pin board, and shouts generously, uncomfortably at subordinates. The military side has been somewhat annoyingly fattened; While Fred’s split is clearly on the right side of history, the Hollywood-blockbuster images of faceless cops in black riot gear don’t look exactly like the horsemen coming, when you realize you’re not watching one. Run-of-the-Mill is Netflix’s true-crime drama. While the shootouts are brutal, and necessary for the story, their presentation in a film predicted to preserve peace in a non-violent society is somewhat retrospective.

Fortunately, there are glimpses of humanity, and while it seems that this functional but still prose film lacks subtlety, Jimenez looks at the story of Samia (extraordinary Laina Khaudri Samia), a young good man. In a homeless camp who has serious intelligence: his flatmate is his cousin, one of the terrorists.

This is where November Open up Fred and Hallows put pressure on Ines to release the suspect by any means, and the film hits a bit differently. Until now, it was about the full weight of rules, responsibilities and laws – but in an abstract way. Now, with Samia getting stronger armed and scared, we can see how these things affect ordinary people, how good and good the civic duties are until you actually try to do it.

November It doesn’t provide any new insights into what happened, and it doesn’t even think about it. What’s good about it is that it reflects the teachings, giving credit where it deserves – in today’s world it is almost impossible to find terrorists, so the achievements of the French that week are incredible – but it is not afraid to find fault, ironically, of justice. Mentioning the wrongs that can and will happen in Sadhana.

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