Stéphane, just arrived from Cherbourg, joined the Anti-Crime Brigade of Montfermeil, in the 93. He will meet his new teammates, Chris and Gwada, two “Bacqueux” experience. He quickly discovers the tensions between the different groups of the neighborhood.
এই ফিল্মটি এখন প্লে না করা হলেও অন্য 30টি অসাধারণ ফিল্ম MUBI তে দেখানো হচ্ছে। এখন কী দেখানো হচ্ছে তা জানতে এখন দেখানো হচ্ছে এ যান
Cinémania / MTL / 2019 / Entrée 2: Ladj Ly signe son premier long-métrage avec force et audace. Un récit polyphonique criant d'actualité qui pose des questions morales, éthiques assez pertinentes malgré son manque parfois un peu trop flagrant de subtilité, son penchant sensationnaliste. Le film est néanmoins immersif, bourré de suspense et son discours gagne a être entendu, discuté. On récolte ce que l'on sème. 3.5.
I find the "cinematicity" of Ladj's not-uninteresting LES MISÉRABLES pretty stale, its "gritty urban realism" a predictable guise for what is very much a show. Not Pialat's POLICE (even if the master's widow is a co-producer), not Tavernier's L.627. Too close to Antoine Fuqua for my taste. Mark Peranson has kidded about the HOME ALONE denouement, but to my mind that's where things get a little more BATTLE OF ALGIERS.
Similar to Bacurau, it suffers because it tries to paint both sides of a conflict but focusses more heavily on an already dominant viewpoint. This look at police brutality is alternately thrilling and damning, but its odd structure dulls the message. That's a disappointment as the ambiguous final shot asks a difficult open question that has no easy answers, but it feels distant to what has come before.
[More like 3.5] This movie was introduced as partly resembling Kassowitz's "LE HAINE", and after having watched it I do agree. It focuses on the banlieues and the people that inhabit it, and the exchange between the subjective hand-held camera point of view and the drone-shot steadycam perspective is a clear sign of how the author wanted to show all kind of interpretations of the story he tells.