Cannes Review: Jean Dujardin in Cedric Jimenez’s ‘Novembre’

It is clear that the terrorist attacks that took place in Paris on the night of 13 November 2015 were watched with great sensitivity by the French film industry and that Alice’s Vinocour was the only film that covered these events at the Cannes Film Festival this year. paris magazine – This is a somewhat fictional drama, mostly set after a night of 130 deaths at a rock concert at the local Bataclan nightclub. Although many names have been changed for obvious security reasons, Cedric Jimenez November In contrast, there are heavy artillery cases, the procedural process of a policewoman detailing the manhunt that followed over the next five days.

From the Leather, the competition film opens with a surprisingly low voice, followed by a woman running along the banks of the Seine as she recreates her sad performances in “Sorrow” by David Bowie in the early 1990s. 1970. The events of the night are coming. It’s true that we don’t show any carnage on screen, Jogging, we see Inés (Anna Demostier) being a police officer on duty with a city anti-police officer. The terrorist team and the shock he experiences when he is kicked out is a good way to show how bad news really is circulating. At the office, Fred (Jean Dujardin) and Helusa (Sandrine Kiberlen) are accused of finding those responsible for the shooting, using CCTV footage, personal surveillance, and telephone cables to investigate a terror network linked to Brussels. .

For the most part, this is the stuff of superior restructuring, so much so that Dujardin soon assumes a mostly exponential role, pointing at maps and pictures on the boards, and shouting lavishly, generously at his subordinates. The military aspect was fetishized in a somewhat disturbing way; While the Freddie episode is clearly on the right side of history, blockbuster Hollywood footage of black uniformed cops doesn’t show the approaching cavalry, but then you’ll know you haven’t watched Netflix’s true crime drama. While the conflicts are brutal and essential to the story, their presentation in a film based on keeping the peace in a nonviolent community is somewhat contradictory.

Fortunately, humanity has sparks, and just when there seems to be no nuance in this powerful but prose film, Jimenez turns to the story of Samia (the fantastic Lina Khudri Samia), a young noblewoman. He has a serious mindset in a punk camp: his compatriot sponsors a cousin who is one of the terrorists.

here November takes off; Freddie and Helua pressure Ines to provide the suspect, and the movie takes a slightly different direction. So far it has been about rules, responsibilities and all the weight of the law, but in the abstract. Now that Samia is heavily armed and scared, we see how it affects normal people, how good a civic duty it is until you try it.

November It doesn’t offer new perspectives on what happened and it doesn’t stop there. It’s good to reflect on the lessons learned and evaluate when necessary: ​​Finding terrorists is an almost impossible task in today’s world, so the French’s achievements this week are incredible, but they’re not afraid to make mistakes either. Ironically, they point to the injustice that can and can be in seeking justice itself.