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• W3136334401 abstract "partly financed by the Algerian and French governments, even though it dealt with extremely painful historical events shared by both nations. An interview of Rachid Bouchareb—an interesting DVD bonus—clarifies a couple of points. His primary goal was to entertain while exploring past events that touched him and his family closely. Much historical research and many interviews of knowledgeable natives were the basis for the story. However, the theme also offered him the opportunity to focus on the art of filmmaking—dialogues, decor, sound, makeup , etc., and Hors-la-loi is a work of art. Secondly, Bouchareb addresses the issue of historical relevance and points out that no one seriously questioned filmmaker Coppola about his rendering of the Vietnam war in Apocalypse Now. No film can ever render the accuracy of months or years of fighting in just two hours. Nevertheless, Hors-la-loi is successful in bringing to light major events such as the Sétif demonstrations, the formation of the FLN or the organizing of the 17 October 1961 demonstration in Paris. Bouchareb sets apart his characters in an innovative way by depicting them as combatants and initiators rather than typical victims. Tension quickly builds as the competition between the FLN and the MNA develops , or when victory by the Vietnamese in Indochina opens up new dreams for the Algerian people. Along with the covering of historical events, the film also shows Algerian natives in their daily routines as they attempt to survive in a harsh and unfriendly environment. While men fight, women take care of the children and the elderly in the shantytown. As for the French characters, brutal men such as Colonel Faivre appear as patriots who have faith in and loyalty towards a strong colonial empire. Bouchareb’s latest feature should be seen as a beautiful war and historical film that renders human tragedy with great art and dignity. Historians and critics will continue to debate the veracity of events and their chronology, but everyone will probably agree on the beauty of scenes, colors, decors, music, and characters. Hors-la-loi belongs to a category of films that simply seek truth and justice, like Harkis (2006) by Alain Tasma, or even more recently Omar m’a tuer (2011) by Roschdy Zem. These films can transform individual experiences into a collective memory shared by thousands of people on both sides of the Mediterranean. Similarly, viewers of Hors-la-loi will recognize universal themes while putting together the pieces of a very complex puzzle. Seton Hill University (PA) Michèle Chossat MAI, JOSEPH. Jean-Pierre and Luc Dardenne. Urbana: UP of Illinois, 2010. ISBN 978-0252 -07711-1. Pp. 156. $19.95. Bien informée, cette étude est munie d’une bibliographie, d’une filmographie et d’un index. Elle se termine par un entretien de Benoliel et Toubiana avec les frères belges, qui discutent surtout de leur travail avec leurs acteurs. Joseph Mai suit l’évolution de l’œuvre des cinéastes et analyse les techniques et mouvements surprenants de leur caméra. Habitants de Seraing, Jean-Pierre et Luc voulaient participer au développement de la conscience politique de la classe ouvrière. Engagés dans le théâtre et enthousiasmés par le travail du dramaturge Armand Gatti, ils sont arrivés au cinéma avec l’intention de créer des films sur la fraternité, des “poignées de main”, selon leur expression. Pour retracer leur parcours, Mai s’appuie sur le journal Au dos de nos images 614 FRENCH REVIEW 85.3 (1991–2005), que les frères ont commencé à écrire à partir de l’échec de Je pense à vous (1991). Dans leur nouvelle période, à partir des années 90, leurs œuvres de fiction La promesse (1996), Rosetta (1999) et L’enfant (2005) ont été reconnues par de nombreux prix et deux Palmes d’Or. Mai capte pourtant des aspects du “réalisme sensuel” happant et désorientant le spectateur, déjà remarquable dans le maniement de la caméra dès le documentaire Regarde Jonathan (1983). Dans la séquence du passage d’un train, le temps que celui-ci soit passé, les spectateurs, occupés à identifier des couleurs..." @default.
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• W3136334401 date "2012-01-01" @default.
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• W3136334401 title "Jean-Pierre and Luc Dardenne by Joseph Mai" @default.
• W3136334401 doi "https://doi.org/10.1353/tfr.2012.0422" @default.
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