Displaying items by tag: Adele Exarchoupolis

CHIEN 51/ DOG 51

France, 2025, 100 minutes, Colour.

Gilles Lellouche, Adele Exarchopoulos, Louis Garrel, Romain Duris, Valeria Bruni Tedeschi, Artus, Fyodor Atkine.

Directed by Cedric Jimenez.

So much discussion about AI in recent years, not only in terms of access to social media but also to technological developments, changes in workplace and employment, rapidity of information and service.

And, so many movies taking up the theme, remembering Spielberg’s AI and his Minority Report and how developments have moved from there. Minority Report took the theme into the areas of crime, policing, justice. And, in recent years this has come to the fore as in the American movie, Mercy. This French film is very much in this vein.

Paris in the near future, divided into three zones, wealthy class, middle class, the poor. And, to keep order, an inventor has come up with a system of surveillance, policing, Administration of Justice. And the film opens with the inventor being pursued and killed in the streets.

Which means that this film is a combination of futuristic science-fiction and AI as well as a murder mystery and the investigation into the assassination of the inventor.

At the centre is a middle-aged detective, former addict, identity Chien 51/ Dog 51. skilled at his work but often personally unreliable. He is partnered with an intense investigator who has an interesting back story of her own, especially as coming from the poor zone and, on a TV program, Destiny, being chosen to leave her family and moved to the more prosperous zone 2.

Complicating the issue and bringing in the political implications, there is a government Minister who gives smooth speeches and intervenes behind the scenes. And there is a rebel group, denouncing the AI system, and they themselves the target of the system itself.

Audiences looking for a futuristic thriller will enjoy the investigations of the detectives, identifying the killer, the driver of the getaway car, the increasing relentlessness of the justice AI system and the final revelations which, of course, serve as the film’s warning against AI out of control, in itself, but then beyond human control.

An added value is the cast, Gilles Lellouche and Adele Exarchoipoulos as the two detectives and leading men, Romain Duris and as the minister and Louis Garell the lead rebel, along with a humane doctor under threat, Valeria Bruni Tedeschi.

Very French but also accessible to a wide audience.

1. The title, tags, identity bracelets, Zem, his police role, zone 3?
2. Paris of the future, the three zones, zone 1 exclusive, 2 affluent and comfortable, 3 poverty? The visuals of each zone? The musical score?
3. The AI theme, the development, police work, surveillance, footage, cameras and identification by eye, headquarters and surveillance information? Communication between police?
4. The interest in the AI theme, the creator and his being killed, the support of the government, the developments in their exercise? And the final disillusionment that AI was taking over, its own criteria for justice, the need for it to be destroyed?
5. Zem and his story, lack of sleep, late for work, discussions with the authorities, investigating the death of Kessel, the elite, interrogations, following clues? His being teamed with Saria? Initial resistance, the discussions, getting to know her, her problems in background, her links with the political authorities?
6. The film working as a police investigation, murder mystery? The car pursuit, the death of the driver, the passenger escaping, found dead under the bridge, the young gang taking the belongings, Zem and his threats, recovering them? The later explanation of his identity?
7. The picture of the resistance group, Breakwalls, Jon Mafrom, his appearance, his speeches, on the television screen, his following? The various members of the group, almost identical, revealing the truth, the one to sacrifice himself? The main Jon Mafrom and his contact with Zem, the information, supporting him? Reassurances about Saria?
8. The character of Zem, revelations about his addiction, Irina and her work as a doctor, his taking the young man, the clients and her kindness? Her being targeted because of her association with Zem? His coming to warn her, the escape, the threats, the capture?
9. Saria, her story, her mother, the TV program Destiny, young people being moved from zone 3 to zone 2, their joy, but the separation from their families, permitted family visits? Saria at her work, overcoming the past? The pressures of work, the association with Zem, the clues, the investigations, her learning more about him, the murder, her being attacked, the confrontation, her being shot, contact with Zem, his helping her, the surgery, survival? Her work on the autopsies, her friend, discovering the material from the autopsies? His death?
10. Her discussions with the Minister, his TV interviews, his praise of the system, the revelation of the truth, AI, taking control, the information, using the drones, the revelation about the death of the inventor?
11. Zem, saving Saria, his with the carriage, the attack and the young friend and his death? Zem wounded, the hospital, his dying? The final image?
12. The film as a murder mystery, a police detection drama, the future and AI, and the warnings about AI?

BEATING HEARTS/ L'AMOUR OUF

France, 2024, 166 minutes, Colour.

Adele Exarchopoulos, François Civil, Malik Frikah, Mallory Wanecque, Alain Chabat, Benoit Poelvoorde, Vincent Lacoste, Anthony Bajon, Elodie Bouchez.

Directed by Gilles Lelouche.

Phew Love.

An unexpected beginning to a review. However, Google tells us that this is the English translation for the French title, Amour Ouf. The English title of Beating Hearts sounds more respectable, rather highlighting the nature of the love between a young man who is afflicted with the name, often mocked, of Clotaire, and Jacqueline, always called Jackie, who live in an industrial city in France.

This is a very long film, 2 ¾ hours, immersing the audience in the atmosphere of the town, the neighbourhoods, factories, the port, crowded homes, violence in schools, the 1970s and 1980s.

The first half of the film introduces us to these two central characters, very striking performances from Malik Frikah as Clotaire and Mallory Wanecaue as Jackie. Even at home, when very young, Clotaire imposes himself on everyone around him, his impatient factory working father, his mother, the siblings. Jackie, on the other hand, has lost her mother in a sudden car crash, lives with her earnest father who wants only the best for her. While Clotaire throws his weight around at school, tough with fists, tough with language, he is attracted to the young girl and she to him, some very romantic sequences, dancing, comfortable together, beating hearts.

Music is a very important part of the film, the songs of the period playing throughout the whole film, popular, memories for audiences, significant lyrics.

But, this is also a crime story, Clotaire and his friends, gradually getting caught up in a world of drug dealing, rivalries, gangs, violence, bosses appreciating Clotaire’s carefree and violent talents. Many French writers and directors enjoy making action crime films. Director, Gilles Lelouche, prominent star in French cinema for many decades, has appeared in several of these films and energises the action here in an elaborate heist sequence during the protest by sacked workers at the port, an eruption of violence and Clotaire going to prison.

As something of a balance to Clotaire’s story, there is a focus on the interaction between Jackie and her father, his constant concern for her, the ups and downs of her crises, reacting against his protection but always going back to him for support, love and advice.

The second half of the film has Jackie, not allowed to visit clutter in prison, encountering an up-and-coming businessman, Jeffrey (Vincent Lacoste) fending him off, marrying him, yet, we might say, her heart definitely not beating for him. And then Clotaire gets out of prison. He seems subdued, and for a moment, we hope that his life has changed. But, there is the issue of taking a fall for others and seeds of revenge kindled.

The adult Clotaire and Jackie are played by starts Adele Exarchopoulos and Francois Civil.

So, after such a long time sharing the beating hearts of Clotaire and Jackie, how can it possibly end? As with the words of the French title, Phew Love.

1. The tone of the original title, Phew Love, a mad love? The contrast with the serious intensity of the French title?
2. The impact of the film as a whole, the long running time, the storytelling over decades? The social context, the romance, crime and punishment? The skill of the director and his experience in acting?
3. The end of the 20^th century, the final decades? Friends and its issues? The northern town, industrial, the port? The poorer neighbourhoods? Schools? Families? Homes? Deals, criminality? Drugs? Bosses, gangs and rivalries?
4. The focus on Clotaire, within the family, his dominance of the of the children, his personality, clashes with his father, the role of his mother? Going up, the team, dominant, extroverted, violent, clashes with students, his range of friends, the going together, the criminal side, the gangs, the encounter with the bosses, doing deals, confronting bosses, the violence, Clotaire’s standing up to them, ingratiating himself, becoming part of the gang, proving himself to the boss and his liking him, the boss’s son?
5. The plan for the big heist, the background of the industry, the port, the sacking of the workers, including Clotaire’s father, the consequences? The decision for the robbery during the protest at the port? The group, interactions, the plan, the containers, the trucks, the robbery? The security guards, the gun, the boss’s son shooting the guard dead? Clotaire trying to revive him? The escape? The police? The arrests?
6. Clotaire, the implications that he was the murderer, his lawyer, ineffectual, his becoming the victim? 10 years imprisonment?
7. The romance story, introduction to Jackie, the death of her mother, her relationship with her father, her studies, competence, intrigued by Clotaire sequences together, the dancing, romance, her highly emotional involvement, ups and downs emotionally, her father, his character, expectations, trying to help his daughter, her variety of moods? Clotaire and his imprisonment? His not allowing her to visit him?
8. The 10 years passing, the effect on Clotaire, seemingly calm, out of prison, with his family again, the support of his mother, relationship with his brother? Finding his black friend again? And his friend being killed? His looking for Jackie, the visit to her father, the father protecting his daughter? The possibilities for clarity, a different life?
9. The seeds of revenge, going to see the boss, his age, decline, explanations of his shielding his son, letting Clotaire take all the blame? The visit of the son, his prosperity, arrogance, drug deals, the club? Clotaire and his friends, the confrontation with the son, shootout?
10. Jackie’s story, not seeing Clotaire for 10 years, Jeffery, her work, slack, her offhanded manner with him, his response, proposal, the marriage? The tensions within the marriage, her pining for Clotaire, his travels, suspicions, confronting her?
11. The impact of the opening sequence, the older Clotaire, his gang, the raid, the confrontations, the shootout? This sequence occurring again, but with a different ending, Clotaire’s moving away?
12. Jackie, the phone, the confrontation with Geoffrey, Clotaire and Jeffrey, Jackie and her love?
13. The future, Clotaire and his vengeance of violence,, the relationship and Jackie?

REVENIR/ BACK HOME

France, 2019, 77 minutes, Colour.

Neils Schneider, Adele Exarchopoulos, Roman Coustere Hachez, Patrick d'Assumcao, Helene Vincent.

Directed by Jessica Pallud.

This is a brief but effective film.

The focus is on Thomas, middle-aged, returning home to France from his life in Montréal where he runs a restaurant. He has been alienated from his family for 12 years, his father refusing to speak to him. However, his mother is in hospital and has asked her son to come to visit.

The film has an attractive rural setting, the French countryside. But, the drama is focused, Thomas and some scenes with his mother, the hostility from his father. And there is a complication that his older brother had been killed in an accident and Thomas had not returned for the funeral. He now encounters his widow and the young son.

The film builds up atmosphere with simple sequences like meals, Thomas minding the boy while his mother has to go to work.

There is some hope at the ending, the sadness of the mother dying, some moments of leniency by the father, but still grudgingly, and the search for the boy when his lost and Thomas bringing his father home after he fell in the woods.

There are further complications, the audience wondering what will happen to the boy and his mother, has the father will cope after the death of his wife, Thomas returning to Canada…

1. The title, memories of the past, returning home, the crisis of the present, crisis of memories and hurt?
2. The setting, the countryside, the farm? The house and interiors? The hospital? The musical score?
3. The focus on Thomas, age, arrival, the taxi, encountering Alex, Alex falling, hurting himself, the meeting with Mona, unfolding the story, his dead brother and not coming for the funeral, Mona as a widow, the little boy? His mother, ill, asking him to come? Not speaking with his father for 12 years, going to Canada, successfully setting up a restaurant? His motivation for returning?
4. Thomas going to the hospital, the reaction of his father, gruff, hostile, the visit with his mother, her tenderness, his sadness? Her death? The impact on her husband, on Mona, on her grandson, his grief?
5. Thomas, reacquainted with friends, memories of the past, the situation at home, debts, selling the cattle, the discovery of the well, the flooding of the field? And her situation, prospects for Alex?
6. The domestic scenes, Alex and his tantrums, his mother’s reaction? Thomas, looking after him while his mother was at work, the play, the ride, the bedtime story?
7. The aftermath of the death, the father, sitting quietly, his grief, the toast to his wife and not acknowledging Thomas, Thomas’s angry reaction? The father recounting the long life yet had with his wife, constant devotion?
8. Alex, disappearing, crisis, the three going out to search for him, the father falling, Thomas rescuing him, bringing him home? Alex walking to the friends, their driving him back?
9. The father sleeping the chair, the next morning, the coffee, his comments, opening up a little to his son?
10. The visit, Thomas ending the leak with his father’s tools, returning to Canada – and the audience wondering what connections for the future?

VOLEUSES/ WINGWOMEN

France, 2023, 116 minutes, Colour.

Adele Exarchopoulos, Melanie Laurent, Manon Bresch, Isabelle Adjani.

Directed by Melanie Laurent.

As the title indicates, this is a strong women’s film. Leading characters – but as the French title suggests, the criminal aspect of their lives and careers?

The film has been cowritten and directed by French and international star, Melanie Laurent (who made such an impact in Quentin Tarantino’s Inglourious Basterds who has gone on to star and direct at home and abroad).

She is at the centre of the film, with Adele Exarchopoulos, two criminals, one a thief, the other a sniper, but rescued from the streets by an elegant but sinister woman who is known as Godmother. She is played by celebrated French star, Isabelle Adjani – and seen initially at a cinema watching the film starring Danielle Darrieux and Jean Gabby and, linking this film to the tradition of French classics.

On the one hand, this is a smiling comedy rather than laugh out loud. On the other hand, it is a caper and heist movie, scenes of action, chases in the streets, drones in pursuit, shootouts. And, there is a range of international settings and beautiful locations.

There is the theme of the arch criminal and the hold over the subordinates, talking about letting them go after one last heist, but still threatening them. And, the characters who are getting tired of all the action, would like to retire quietly but are required to do one last job.

A variation on popular buddy and comic action themes, French style, women’s style.

1. Title and tone? Graphic novel? Characters and action? The female perspective, characters, action, relationships, writing and direction?
2. A variation on the buddy comedy, characters and relationships, action together, ordinary, crises? The musical score?
3. The background of heist and capers, Carole and Alex, the opening, Alex and the rollerskating, the bruises, coming home, comfortable with Carole? The relationship? But their crime career? Killers? Their jobs, emotions? The initial action, the pursuit, the drones, their discussions about groceries and ordinary things, of the cliff?
4. The theft sequences, action, suspense, chases through the streets, the drones, shootouts?
5. The character of Godmother, Isabelle Adjani and her status in French cinema? Seen watching the film with Danielle Darrieux and Jean Gabin? The link to French classics? Her manner, age, control, the past and her rescuing the two, her hold over them, at her command? Her house, manner and style?
6. Carole and Alex, skills as thieves, sniper? The careers? Wanting to get out? Godmother and her hold over them, the threats?
7. The last job, the getting of the city plans, travel to cities, the arms dealer and weapons, going to Corsica, the target for stealing, the painting – and Godmother condemning it as kitsch?
8. Sam, Formula One, driver, in need of a job, the two recruiting her, the montage and training?
9. The finale, the action? Confrontation of Godmother? And the hopes for being able to live a life?