A peine sorti de prison, Kamel (Rabah Ameur-Zaïmeche) est expulsé vers son pays d'origine, l'Algérie. Cet exil forcé le contraint à observer avec lucidité un pays en pleine effervescence, ...
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1968 and 1969 in Paris: during and after the student and trade union revolt. François is 20, a poet, dodging military service. He takes to the barricades, but won't throw a Molotov cocktail... See full summary »
Seiji works on construction sites. He sympathizes with Hosaka just back from Thailand. Together, they spend their evenings in bars with Thai girls. On a construction site, they meet Takeru, a member of the hip-hop collective of the city.
Kamel, a young man from the french ghetto, near Paris, is coming back to France. He was arrested for dealing drugs, he spent five years in jail and was banned from France for two years. He ... See full summary »
Talk of living wages and religious observances upsets the delicate accord between the boss of a run-down truck yard and his workers in this visually arresting take on the French-Algerian immigrant experience.
A peine sorti de prison, Kamel (Rabah Ameur-Zaïmeche) est expulsé vers son pays d'origine, l'Algérie. Cet exil forcé le contraint à observer avec lucidité un pays en pleine effervescence, tiraillé entre un désir de modernité et le poids de traditions ancestrales.
A story about Algeria, about the schizoid life with strong traditions placed in the horizon of the largely spread emigration in France.
Even if the cinema is discovered more than a century ago, the director of this film shots today in a, so to say, genuine style (we could say à la Lumière), that is disregarding any authorial input, getting rid of any drama rules, collapsing the dialogs and then just standing discreetly in front of (apparently) «nothing happens». A very acute authenticity rises then, in this non-interventionist way of filming which provide some beautiful portraits (in gros-plan) and a collection of «bricks» of pure (inner) time. The movie is supposed to be charming and original in giving us all freedom to see these bricks together in a virtual composition. But this is a little bit too virtual even if I appreciate this particular way of being «cool» by letting the story to tell (or to lose) itself. A story about Algeria, about the schizoid life with strong traditions placed in the horizon of the largely spread emigration in France. The film let us ask ourselves if the ingenuousness has been really lost in cinema.
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