News in brief
01 May 2017 à 11:17
Review of Swagger by Adèle Beaulieu
"We" say that films shouldn't have an overbearing directing style. "We" say that in films, the soundtrack shouldn't stand out too much."We" say that in films, the costumes shouldn't stand out too much. "We" say that in films, editing shouldn't stand out too much. But who is this "we" who dictates a direction to be followed, without ever questioning it or trying to move beyond it. Olivier Babinet chose to set this "we" aside, and in doing so, stirs the audience's emotions with his portraits, each one more moving than the next, which give a group of young people from a neighborhood of Aulnay, in France, an opportunity to be heard and to be seen.
Structured in the form of a fictitious circle of confessions, characters who know each other (or not) watch each other and listen. They are critical, but authentic, there’s no one to hold them back—in any case, not the director, who, by allowing them to express themselves and by focusing on their humanist aspirations, takes them into a new dimension. At times, the camera pans around them, but their gaze follows us, never letting us go. The truth is spoken directly, face to face, with no barriers to impede it. The viewer is swept along, leaving preconceptions behind and dreaming, along with them, to be Obama, to be an architect, or a drummer... And it wasn’t until afterwards that I began to wonder why fiction still attracts so much interest when heroes like these people exist all around us, so close to us. Thank you. "We" would like to thank you, "we" don't hold it against you, "we" don't exist anymore.
Latest update : 23 May 2017 à 11:17 CEST