Thees prejudices die hard.
2009. Release of the film ” THE BEAUTIFUL KIDS “. Promo monster. Ointment on Canal +. Trailer formatted. LOL with boys ? No thanks, I pass my turn.
2010. Film in the hands. Viewing. Tears. Tears of laughter.
Past the trailer forced the film, which, in addition, compile the jokes the least funny, BEAUTIFUL KIDS turned out to be a comedy tremendously enjoyable and mostly instigator of a new kind. I was faced with a comedy special where the author was taking advantage of his freedom full to put his paw outside the norm to give a tone to the film is absolutely stunning and unique. I discovered then Riad Sattouf (yes, I know, it was about time !). An author and an artist that I’m from and who I was once more enchanted with his new movie.
I was speaking of prejudice in the introduction. Reuse, therefore, with intelligence this concept (and you will see how everything was thought out and fits perfectly). The prejudices, the stereotypes, the patterns here are made to setback and provide the starting point fort du film. The director presents us with a society where the roles are reversed. Here, we can observe a bubble of societal where women reign. Power, security, everywhere, they dominate, and the men, veiled, are relayed to the second plan, being more than useful to wait patiently for the return of their companions to the house, preparing the meals and household tasks. Even if the idea seems simple, the process allows you to engage in reflection on our society.
The commitment is precisely one of the film’s key. The denunciation shall I say even more far-reaching. Riad Sattouf types in all and addresses multiple issues, the front, and at the same time : the organization of political power, the role of each, the religion, the consideration of the other, the organization of the society, homosexuality… The developer clears these themes brilliantly, but, however, we can blame him for precisely this multiplicity of themes. In fact, certain aspects highlighted benefit of a shorter treatment duration than others. This leads us to consider a posteriori the film and its struggles. The film is then a simple presentation of questions and not a critical study that will yield answers to those questions But, regardless, the work is well done, and would that deal with these subjects, whether they are depth or not, is already a good leader helpful and fully conscious.
Then maybe in reading these lines, you say : “Well, well if it is a committed film, I’m not going to set foot in it, it’s not my thing. “. And you’d be in your right next to the first part of the critique. I will grant you. But let me first present you the way in which this commitment is exhibited. Because, yes, I said, of course, Riad Sattouf, we delivered a film to the political commitments and various many but I have also made clear that he was an artist who had made me cry of laughter. And as you might expect then, it is time to deal with the opposite comic of work.
More than a simple gilding pretext to develop a connection, a sense of humour is here a force and a component full of the film. The developer not used not simply to convey his ideas. So much so that the film could be considered as good as a comedy to full-fledged, a committed film on another side. Let me explain. Along the 90 minutes that comprise the film we are seeing as well as moments of comedy and pure and free and only at times where the comedy is made the ally of the about.
The humour is certainly very present, but also very special. The universe of Riad Sattouf is unique, and the quality of the humour is just as much. Between absurdity and poetry, the comic used here achieves the perfect fusion of the two, while incorporating a legacy burlesque. The jokes are coming, and you décontenancent and are, furthermore, amplified by their appearances devoid of chronology. The surprise with which the humour landed in some moments multiplies the potential comedy of the scene and allows us to realize and appreciate the talent of the director. The talent intergalactic, Riad Sattouf we book a comic in the stratosphere for a movie deliciously prototypical. Thanks to an intelligent humor, sought after and original the film marks the dedication of a freedom of tone and offers a breath of fresh air and hope in the landscape of the comédie-française.
This French comedy precisely is doing well and gives us new talents. Finally, the talent already discovered, which confirm the potential that he had been assigned. We indeed find that Vincent Lacoste and Anthony Sonigo, the revelations of the casting of the kissers, in good shape and still as comfortable when they are led by Mr. Sattouf. Their charming awkwardness will always pair with the spirit of the work presented by the director. Expect, too, a casting humour insured with Anémone, Didier Bourdon and Valérie Bonneton and who takes risks by engaging a Michel Hazanavicius perfectly in its place. The joy and fun that make the actors are communicative and are essential for the proper functioning of the film. Everyone is proud of his composition, and gives everything for us to deliver a perfect service that immerses us even more in the history thanks to caricature not outrageous, but fair, of the characters.
“The talent intergalactic, Riad Sattouf we book a comic in the stratosphere for a movie deliciously prototypical.”
The cast, humor, and respect are the elements that contribute to the success of the film but the tripod becomes a chair when we should congratulate the achievement. The decor immerses us in the universe sad and dictatorial, as desired by the director and are accompanied by iconographic elements that participate in the immersion, and who have both a symbolic and a messenger. Riad Sattouf performs the feat of putting in place a complex universe and rich in codes and we dive there in a few moments thanks to the smooth running of the technical. It is never lost, but always awestruck by the genius with which he makes us feel comfortable in this parallel universe : a staging of the original to a film that is just as important.
JACKY in THE KINGDOM OF the GIRLS proves to be a work of gross, unique and extraordinary that has a wide scope. Riad Sattouf performs the feat of we to deliver a film a personal, intimate, and which has both a universal power. Balancing act performed without a net, the film is a mistake rarely, but suffers its originality and its unique personality which can turn into a hermetic misunderstanding between the audience and the director.
For my part, I say to you (I beg of thee tu), thy talent is not in doubt and is a pure happiness, a source of wonder. Riad, with all my love, I kiss you.
(Because I know that you want me to read.)
(Finally, I hope.)
Editor’s NOTE : You can read the critical (negative) of the film at this address.
• Achievement : Riad Sattouf
• Scenario : Riad Sattouf
• Main actors : Vincent Lacoste, Anthony Sonigo, Anémone, Didier Bourdon, Charlotte Gainsbourg, Valérie Bonneton, Noémie Lvovsky, William Lebghil, Laure Marsac
• Country of origin : France
• Released : January 29, 2014
• Duration : 1h30mn
• Distributor : Pathé Distribution
• Synopsis : In the republic democratic and popular Bubunne, women have the power, control and war, and the men wear the veil, and take care of their homes. Among them, Jacky, a boy of twenty years, has the same fantasy inaccessible that all the single people of his country : to marry the Colonel, daughter of the dictatrice, and to have a lot of girls with it. But when the General finally decides to organise a grand ball to find a husband for his daughter, things get worse for Jacky : being abused by his family, he saw his dream slowly slip away…