[CRITICAL] 1:54

1:54 is a prevention campaign giant against cyber-harassment in the school environment with the backdrop of the reminder that he (still) fighting against homophobia.

A theme obviously eloquent as highly relevant, and that will be the benefit to do is to plan about all those who will see it, in the memories of their own schooling, they are placed on the side of the victims or the executioners… It is on the strength of his inclination to treat a particular topic that the film breaks at the outset of its possible too virulent criticism. Its purpose is strictly to respond to a phenomène burning – much as had been done by Marie-Castille Mention-Schaar with The sky awaits – then, almost logically, the authority of the subject outweighs the rest. In the case of the first feature film from actor/director/producer/animator of tv” Yan England, this is not a defect, it is that which saves his life.

Tim is a young high school student closed in on itself. Former high-level athlete in high school, he no longer runs since the death of his mother. He lives alone for five years with his father who does not always understand and in addition he must endure the mocking incessant Jeff, (the hunk, guy, super athlete from the high school) and his band. For some time they point the finger at the friendship a little too immature for their taste that Tim door to Francis, his partner in chemistry class. But the teasing takes place, in priority, on Facebook, including the notifications of publications humiliating invade the smartphones of each. After a skid tragic, Tim has only one desire, revenge, and for that he must take the place that Jeff wanted for four years : a qualification to the national championships. Objective : make less than a minute and fifty-four in the eight hundred meter.

The setup is, admittedly, a little slow and poor, the scenario is heavy and even if he makes it to the teen movie its letters of nobility – because here it is a drama of adolescence which is played – you can not escape a feeling of caricature and already seen. We cannot not really tell where it has “already” been able to see it, but the film does not shine by its originality of treatment….

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It must be said that the beautiful effects, all free as they are, are linked together: Opening up to the crane on the buses that park in front of the high school, strolling of a young man with his headphones pressed into his ears, music electro to low to be effective, which fills the screen… An aesthetic and a mise en scene that recalls by far Gus Van Sant and Elephant without playing in the same court because it is not only reminiscent of the small touches… The characters themselves are also a little exaggerated : the figure of the geek orphan erected in victim, single parenthood, homosexuality, etc…The movie goes like this, of common places in the white wires for too long to maintain actually the dramatic tension that the director gives himself the trouble to put up. The basic premise : Facebook and social networks, weapons of mass destruction, the primary cause of suicide in the schools… It has taken tricks to the producer for the filming of phones and young people who watch the phones for an hour and forty five… so far, the inspiration there, and the desire to make a film strong also. 1:54 deals with the bullying and all its collateral damage that we underestimate sometimes (drama of family, inconsciences of the executioners, trauma facilities). The film undertakes to lay bare a serious reality, but it is precisely because it adopts a posture too artsy ( like a tv spot) that nothing seems to us to be neither really a shock, nor really original; and even if nothing is really unpleasant, there is really nothing exciting either…It is a pity , we pass next to the background analysis to the benefit of the single observation.

No one can decently deny that the acting is remarkable, Antoine-Olivier Pilon, the revelation of Mommy and her playmates Sophie Nélisse (the History of Love) and Lou-Pascal Tremblay, are alone the high potential intensity that emerges, despite all of the film. If it does not, it is because it is awkward, the screenplay lacks subtlety, and the small implausibilities pile up, and the hope of being taken to the maul disintegrates…

It will still recognize the scenario of a holy boldness, to take in the last quarter of an hour (too bad, a little late), the opposite of everything he had endeavoured to build since the start, and then succeed to surprise us and reconcile us with the time passed. We thought to go straight into the wall, but Yan England, we tap you on the shoulder and tells us that he has thought of everything for the final. This is the best part of the film; the only scene a bit dramatic, and that offers something from the point of view film. Eventually he escapes in the nick of time and disappointment.

Neither good, nor bad , 1:54 is a film about, for and with teenagers who will give the sensation to the (parents) in their thirties-as a quarantine to have it dodged with Facebook but they will especially say that the violence of screens and social networks are their children who will have to wipe it off. Vigilance and prevention so… My child ? Facebook ? Me never !

Sarah Benzazon

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