The daily grind for the cops of the Police Department’s Juvenile Protection Unit – taking in child molesters, busting underage pickpockets and chewing over relationship issues at lunch; interrogating abusive parents, taking statements from children, confronting the excesses of teen sexuality, enjoying solidarity with colleagues and laughing uncontrollably at the most unthinkable moments. Knowing the worst exists and living with it.
How do these cops balance their private lives and the reality they confront every working day? Fred, the group’s hypersensitive wild card, is going to have a hard time facing the scrutiny of Melissa, a photographer on a Ministry of the Interior assignment to document the unit. —Cannes Film Festival
Maïwenn (French pronunciation: [maiwɛn lə bɛsko]; born Maïwenn Le Besco on 17 April 1976 in Les Lilas, Seine-Saint-Denis, Île-de-France) is a French actress and film director.
Biography and career
She is the daughter of actress Catherine Belkhodja, who ushered her into the entertainment industry at a young age, an experience later chronicled by Le Besco in her one-woman shows “Le Pois Chiche” and “I’m an Actress”. Maïwenn Le Besco starred in several films as a child and teenage actress, notably as “Elle as a child” (the child version of the lead role played by Isabelle Adjani) in the hit film L’été meurtrier (One Deadly Summer, 1983). In 1991, due to her difficult relationship with her parents, she decided to use only her given name professionally.
She met director and producer Luc Besson in 1991. The two later began a relationship, after which Maïwenn, having lost her motivation as an actress, interrupted her career for several years. She lived in Beverly Hills… read more
Amazing performances. I was struck silent during the seen with the separation of the Senegalese mother and son. Maiwenn's improvisational approach with her actors truly pays off. I read an interview in which she stressed "listening" to her actors: both children and adults. Trite as it sounds - performance is mostly about reacting effectively. Longish film but beautiful execution.
Raised above the humdrum level of the usual examination of police procedure by its clear focus on the lives of the police men and women rather than the usual labyrinthine intrigues present in cop "genre" films. But what really sets it apart is its jet-black humour; its real achievement is that it refuses to surrender to the bathetic.
A perfect example of how,stereotypically, a woman would direct a movie: exaggerate emotions on every episode possible and try to tell as many stories as she can think of in one single flick at the same time hoping to relate them with one another in a scattered way using some general themes. No story development, vague climax (or not compelling enough), weak unmotivated characters, lame behavior for police officers
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Also: Césars and BAFTAs. And passings.
Updated through 5/23. The Jury of the 64th Cannes Film Festival, presided over by Robert De Niro, and further comprised of Martina Gusman
The end of the world will be beautiful, or so says the Polish poster for Lars von Trier’s Melancholia, quite fittingly on the eve of
Alice de Lencquesaing, a touching young presence in year after year of French festival films (see: Summer Hours, Father of My Children), drops