Bruno Dumont’s directorial debut takes place in a provincial town in the north of France, where a twenty-year-old named Freddy lives. Racial tensions arise when he sees his girlfriend talking to the new guy in town, an Arab.
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I was struck by the contrast of the sensitivity of the boys towards AIDS, and their ignorant attitude to almost everything else. Dumont is a master in capturing small town life with a distinctive, non-judgemental eye. What do you do when you've got nowhere to go?
Essential cinema. Dumont's debut feature of French miserableness is even more powerful and provocative now then when in debut in '97. Confrontational from its title through execution featuring a collection of authentic performances, from a non-professional cast most of whom never acted again, and low key but solid production values. Scripting is aces but was soon surpassed by his second feature.
three breaking points;
revenge .kader's cursing to all french people,
abusing of overweight girl,
kader's rejection in the park,
these scenes are manipulating our ideas about characters.All characters amateur but they are acting better than proffesionals.This director doesnt have any dogmatic ideas ,he is telling his story in simplest form.This is masterful work of art for a director's first feature film.
It's always interesting and stimulating to see an established director's first feature in order to trace his/her progress as a filmmaker and author up to today; Bruno Dumont's first work is narratively simple but it successfully portraits the provinciality and boredom of everyday life within a gang of young friends; on a stylistical level, I found a few similarities with the Dardenne brothers in its approach. 3/5
Hard and tender like a Greek morality play without the moral... save that toxic masculinity fucks up boys, but the grim tragedy is they then go and fuck up girls' lives even worse. The countrysides, faces and attitudes reminded me of my native Suffolk.
A mesmerising debut, almost polished in comparison to his later works while featuring all of the elements later used in varying degrees. The actions of the characters are brutal but Dumont colours them into three dimensions, showing us motive without justifying the action. He begins his career here by carrying on the path of British directors like Alan Clarke by providing an unbiased voice for the underclass.