The ending came as a bit of an unexpected shock but after reflecting back on the film I find it very fitting and not at all gratuitous as I initially felt. Polisse is an extraordinary series of chapters that deftly balances depicting with great depth horrifying moments of evil and flashes of humanity and hope. The performances are absolutely top notch in this immensely satisfying cop drama. I love it!
I like what Maiwenn does with her acting direction: it's vivid, true and powerful. Telling a tale about hope on urban ground, the director sets a tone and sticks with it: it's fast and raw. But shooting everything with Netflix quality, a question remains: what's the difference between Polisse and a Law and Order SVU episode? At the end, it's romance with a nervous background: it has a lot of heart but so little art.
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.
Polisse brings to the fore an extraordinary amount of frustration of the people working for the CPU, and the amount of pressure they're under at their job, which affects every part of their lives. The more I think about the film, the better it becomes. The only disadvantage is that as a non-native speaker, you may have troubles reading all the subtitles when several characters shout at each other at the same time.
A solid, dialogue-driven and often humorous look at the constant challenges faced within a child protection unit. It's portrayal of the perpetrators 'normalisation' of their actions is both frank and shocking. Whilst the films emotions run often at boiling point, the directors own acting as the photographer is one of it's stand-out flaws. 3.5 stars