If you don't fight for three days, go to the house to uncover the tiles. Is there anything happier than hitting and scolding teachers at school, playing pillow fights, not sleeping when you sleep, not studying when you are studying?
No!
Some people compare this film with Truffaut's "The Four Hundred Blows" in 1959, and there is no comparison between the two except for the similarities in theme. "Four hundred hits for a naughty kid", the apparent individualism of the French New Wave is fundamentally different from the collective rebel orgies of Conduct Zero. This is a crazy game that more and more children join as the movie develops. At first, it was just two people on the train, and then it became a small group of three at school. Finally, the only girl in the class joined the movie climax. After the birth of , the whole class set up an alliance to make troubles in the heavenly palace, making the whole school a mess. This tells us that rebellious emotions are contagious, and if the people above want to suppress them, they have to start from the beginning, and a single spark can start a prairie fire.
The high-speed photographic processing of pillow fights has become a classic of French poetic films. The slowly falling feathers in the sky change the dimension of time and deliberately create a carnival mood. But what strikes me more about this film is the details, the exploration of realism. When eating, turn the knife, whoever the knife is facing will take the first sip of soup; the classmates come to the stage to answer questions, and when they walk through the corridor and get punched by other classmates, the classmates who come to the stage look back angrily; some teachers are not afraid of students in the classroom. , how to make trouble or make trouble, some teachers as long as one stop at the door, the whole class immediately obediently silent. It's too real, this kind of detail is not in one place, but continuously fills the picture, even a scene has multiple places, a group of students are doing small actions here, and another group of students are doing small actions there, like whack-a-mole, so that The audience's eyes were overwhelmed. This kind of rich and real details makes it possible to watch the movie again and still figure out a little happy place, just like eating a white steamed bun, the more you chew, the sweeter it becomes.
The whole happy singing is like the triumphant song of the children, from the beginning to the end. The director deliberately made the image of the school comedy, and the image of the principal appeared in the second half. The contrast between the too small man and his arrogant beard made people laugh, and the ridiculous things the teachers did also weakened them. Authoritative, the director made the objection to boarding schools' repression of human nature less didactic, and seemed to say, "It's said that education should not be so cold-blooded and oppressive, and my movie can't be so preachy, so let's enjoy the joy of mischief."
This is a movie that takes the audience by the hand and does bad things together.
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