If it is an audience who likes to imitate documentaries and feels like dramas, and can withstand two hours of dense and noisy French dialogue, then the film "Entre les murs" The narrative style and camera transition between the two, the improvisational style and the meaning of the individual, will make the look and feel unique. If you are a French-speaking audience, you might be able to experience a more subtle interest from those stubborn oral lines. The translation of this film, which leads the plot development with complex dialogues, seems to be a lot of work, but it seems inappropriate to translate the title of the film into "High School Classroom". Although these children have advanced development, the age referred to in the film is 13 －They are still in junior high school at the age of 15.
In recent years, many filmmakers and judges seem to get together and tend to focus on the styles of documentary, small-scale films, such as the darlings of certain film festivals, these kinds of films that use fiction to see reality and drive fiction with reality are mostly small. Cost production, the overall presentation is like deliberately losing other expressive elements of light and shadow, such as soundtrack, sound effects, color processing, etc., and the architecture has also returned to a linear model. Reflect current social issues.
This time, the French selected a young group to use this numerous and noisy social miniature sample to reflect the various problems and social reality of the current post-immigrant era in France. Although the entry point is the "little immigrants" and their teacher-student relationship, the lens did not extend to specific areas of life, only through the teacher François Marin (original author and screenwriter François Bergado Acting) Talk to students in class, communicate with colleagues after class, and interact with students’ parents at most one or two to complete the narrative, but it still reflects France’s increasingly serious immigration problems and ethnicity in recent years. Diaphragm and even education system issues.
In the noisy classrooms and the collective discussions of the teachers, the audience can see that the adolescent students’ thoughts about themselves and dissatisfaction with reality have induced various feelings. Kind of speech. On the surface, they are arrogant, unruly, ignoring school rules, and contemptuous of teachers. In fact, this reflects the doubts and embarrassment of the sons of immigrants about the so-called French identity, and they directly express this doubt and embarrassment. When they come out, for example, they will choke the teacher with words, take advantage of the problem when they get the chance, and express strong dissatisfaction with the teacher who always uses white names like "Bill" in sentences. Another example is to express love for one's homeland with favorite football stars and national teams. Of course, his views are biased. However, adolescence has a "privilege" that does not have to pay for it, that is, you can express your own intolerance without wanting to feel inappropriate or embarrassed.
Under such circumstances, the head teacher Ma Lin is often ridiculed, burnt, and embarrassed by the students' wanton personality. Fortunately, he is more patient and always tries to communicate with the students. If we change to some of our usual teachers, I have thrown chalk tips or blackboard erasers at the troublemakers a long time ago. For what the students do well, Marin always does not hesitate to affirm, even the most troublesome student for teachers. It's just that, no matter how patient, people will be forced to a dead end by some words and deeds that are so blatant that there is no taboo. Marin finally uttered indecent words, which caused additional contradictions and disputes.
The film uses Marin’s role in opposing the expulsion of African student Suleiman, revealing the director’s thinking about the education system—how to treat problem students, discipline or diversion, this is a problem, and it’s never easy to weigh. In view of the fact that punishment is both a powerful means to eliminate discordant factors and protect the required situation, in reality, many teachers will choose punishment without mercy. The purpose of human beings’ education is to inherit civilization, but in fact it is only to adapt to the needs of society in the future and survive. This is also the process of eliminating individuality to obtain the greatest degree of similarity and recognition, just like in the final product inspection, even if they are reluctant to be trimmed, no one wants to be a substandard product, but it does not last for a long time. In the not-short period of rebellion, mankind still has a natural sense of confrontation, although it is in vain.
The other scene of the film does not take much time, but it is quite subtle and interesting to figure out an interaction across ethnic groups and cultures, and the problems reflected are also very profound. This scene is a meeting between the head teacher and the parents. In the responses between Ma Lin and the parents of students from different countries, a series of subtle and eye-catching profiles of multicultural differences were presented. There is no strong collision, only peaceful expressions, but the communication effect of such short and different background dialogues is limited. For example, Suleiman's mother only speaks Mali, so Suleiman's brother needs to do it. Translation, obviously, Suleiman in the eyes of his mother is not what he looked like in school.
Xu is the result of the semi-autobiographical experience of the author, screenwriter and first-time actor François Begodeau himself. The film has a keen insight and sense of reality. He has been a literature teacher in a middle school in the slums of Paris. Begodo gave the intricacies and pains of the noisy and mixed in a timely manner. When his communication with students Couba, Esmeralda and others hit a wall, the audience could feel his complicated feelings as a teacher. Near the end of the film, when Marin asked the students to talk about their school year harvest in the last class before the holiday, his expression was happy, and the expressions of the students were also happy, but after the class, the students left one after another. , A black girl stepped forward and told him sadly that she hadn't learned anything. Although Marin tried to open it, there was still a hint of surprise and loss in her expression.
There are not many scenes in the film, and most of them are interior scenes. There are at most a few small playground scenes. Although the space that can be displayed is limited, when shooting, multiple cameras are used to record the long dialogues and timely of those non-professional actors. reaction. "To express the situation and feelings of individuals in a complex world, and to explore how individuals perceive the real world." This is the filming concept of the film's director and photographer Lauren Kangtai (someone translated as Gangtai, which reminds me of a drug name). The subject matter is also his preference. After reading it, I feel that the "Rebirth of Movies" commented in "Zhengzhou" is too acclaimed, but James Bell's evaluation in "Sight and Listening" is reliable and appropriate-"Although you have to bear the design of the director in the second half The plot shock, the surprisingly real and energetic classroom scenes still impressed me."
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