At university, Carmen meets Hussain, a young Afghan poet. This encounter changes both their lives: falling in love, they become inseparable. Soon, Hussain learns that his asylum application has been rejected, forcing the couple to hide. However, Hussain starts feeling suffocated and needs to leave. Read More »
Inviting favorable comparison to the overtly political, social realist films of Jean-Pierre and Luc Dardenne, The Wound is an understatedly affecting, acutely observed, and profoundly sobering portrait of oppression, dehumanization, and exclusion. By incorporating organic, extended plan-sequences and using repeated images of interminable waiting – from Blandine’s detention, to her self-confinement at a derelict tenement, to Papi’s real-time ride through the countryside in the back of day laborer truck – Nicolas Klotz reflects the inherent inadequacy (if not outright failure) of immigration and asylum laws, lax procedural structure, and government-tolerated, often racially motivated policies (and undocumented, obstructive common practices) that willfully hinder or impede the integration and assimilation of immigrants into their adoptive countries. Using the treatment of Blandine’s wound while in French custody as a metaphor for the authorities’ repeated turning of a blind eye to the obvious, visible social problem, the film serves as a harrowing and trenchant exposition on intolerance and systematic marginalization. Read More »
Paris today. Simon works as psychologist in human resources department of petrochemical corporation. When Management gets him to investigate one of the factory’s executives, Simon’perception goes disturbingly chaotic and cloudy. The experience affects his body, his mind, his personal life and his sensibility. The calm assurance that made him such a rigorous technician starts to falter. Read More »
First part of a “trilogy of modern times” (the second one is La Blessure, and third – La question humaine).
Paria follows the path of two characters, Momo and Victor. Momo –remarkably played by Gérald Thomassin– lives in the streets, while Victor, on the edge of poverty, loses his apartment when he loses his job. Their destinies will come across during the night of the “millennium” which will be celebrated in a social pick-up bus. By a brilliant inversion of the points of view, the opening sequence, shot form the bus, in which the city night is threatening, takes a totally different aspect in the middle of the film. The events take another relief as the outcast have been given a face, taking back their humanity. In the wonderful sequence that follows, Blaise, one of the homeless is taken care of in a refuge where the outcast are healed and washed, far away in the suburbs, away from the good society. Victor and Momo, thanks to love, will find hope in a better future. Filmed in a documentary way, in DV under the cold urban lights, Paria catches the dark side of the city, the space between the spaces, the left-overs, and frees the speech of the outcast the society don’t know what to do with. Read More »
A group of young people are organizing. One night, they face the police who came to evacuate an African squat. Carmen meets Hussain, a young afghan poet. Crazy in love, they don’t leave each other. But a curse hangs over the city, papers are carrying death, bodies are falling. Panicked at the idea that he could get arrested, Carmen forbids him to go out, and locks herself with him. Gradually, Hussain get the feeling that she is watching him… Read More »