Nog wat films gezien de voorbije twee weken:

• Street Kings (David Ayer, 2008). Grimmige flikkenthriller die duidelijk ontsproten is aan het brein van Ellroy. Brutaal, hard, cynisch. Eigenlijk aangenaam verrast door Keanu “Dude” Reeves, maar Forest Whitaker is een tegenvaller als theatraal uit z’n nek leuterend afdelingshoofd. (**1/2)
• Deja-Vu (Tony Scott, 2006). Blockbusteralarm. Opnieuw een thriller, maar dan eentje met een soms wel heel erg bij de haren gegrepen sci-fi-randje. Een paar gedreven momenten, maar vooral veel bandwerk. Enemy Of The State en True Romance blijven Scotts beste. (**)
• Entre les murs (Laurent Cantet, 2008). Verbluffend goed. Zelden of nooit een film gezien met/over jongeren en onderwijs die zo genuanceerd was, zo realistisch, zo perfect qua stijl en sfeer. De onverschilligheid en tegendraadsheid van de stadsjeugd, het eindeloze geëmmer van collega-leerkrachten, de klasdynamiek, de sleur, de opstootjes, de woord-tegen-woord-spelletjes, het zit er allemaal in zoals het is, zonder grote verhalen, zonder zwart/wit-toestanden of kleffe feel good-onzin. (*****)
• Wanted (Timur Bekmambetov, 2008). High energy actienonsens, maar dan zo snel dat je amper de tijd hebt om vragen erbij te stellen. Qua acteerwerk valt niemand op, tenzij James McAvoy misschien, al is alles en iedereen dan ook ondergeschikt aan de special effects en flitsende actie. (**1/2)
• Aanrijding in Moscou (Christophe van Rompaey, 2008). Al die prijzen en lovende kritieken creëren natuurlijk verwachtingen die niet ingelost worden. Barbara Sarafian is nochtans overtuigend, laat een geweldig Gents accent uit haar bek rollen en krijgt alle mooie scènes. Het probleem is echter dat de prima acteurs een beter verhaal met betere dialogen hadden verdiend. Nu zinkt het al te vaak in, waardoor het doet denken aan Vlaamse voorgangers die minder potentieel hadden. (***)
• The Magnificent Seven (John Sturges, 1960). Legendarische, op Kurosawa’s The Seven Samurai gebaseerde western met schoon mansvolk als Yul Brunner, Steve McQueen en Charles Bronson. In m’n geheugen een klassebak en zowat het beste uit het genre. Het blijft een goede film, maar het is verre van een klassieker, met al te veel statische scènes en wat lullige dialogen. Wel goeie muziek, van Elmer Bernstein. (***1/2)
• Dawn Of The Dead (Zack Snyder, 2004). Remake van de klassieker van Romero, die m’n favoriet van het originele trio is. Het gaat er nu allemaal veel wilder en hectische aan toe, zo’n beetje als in 28 Days Later, en de special effects spelen de hoofdrol. Degelijke boel. (**1/2)
• 10 Rillington Place (Richard Fleischer, 1971). Onterecht onbekend portret van psychopaat John Christie, op gewéldige manier gestalte gegeven door een fantastische Richard Attenborough. Voelt soms veel moderner aan dan hij is, heeft een geweldig sfeertje en sterk weerwerk van o.m. John Hurt. (****1/2)
• Le silence de Lorna (Jean-Pierre & Luc Dardenne, 2008). Prima film, maar in m’n lijstje van Dardenne -favorieten hangt hij waarschijnlijk ergens onderaan te bungelen. Breekt een beetje met de pseudo-chaotische traditie van z’n sociaal-realistische voorgangers door een vaag misdaadelement toe te voegen, maar slaagt er niet in om echt mee te slepen en voelt te lang aan. (***1/2)
• Monty Python & The Holy Grail (Terry Gilliam & Terry Jones, 1975). Ik moet stoppen met het herbekijken van oude favorieten, want op een enkele uitzondering na vallen ze me tegen. Deze Holy Grail bevat nog steeds een paar van m’n favoriete Monty Python-momenten, maar het duurt allemaal zo lang, lang , lang. Het kan me gewoon geen anderhalf uur meer boeien. Ni! (***1/2)
• The Texas Chain Saw Massacre (Tobe Hooper, 1974). Vernieuwend en grensverleggend en al wat je wil, maar eigenlijk ook een klungelig zootje met wanstaltig acteerwerk, houterige montage, irritant geschreeuw (WAAR GEEN EINDE AAN KOMT) en meer van dat. Nu en dan wel leuk camerawerk (iets dat je ook zag bij de oudere films van Peter Jackson), maar uiteindelijk toch een zware tegenvaller (*1/2).
• Palindromes (Todd Solondz, 2004). Zo mogelijk nog tegendraadser dan Happiness en een grote, cynische brok ellende. Bevat vrij experimentele elementen, zoals het feit dat het hoofdpersonage door acht verschillende personen (van verschillende leeftijd, met verschillende huidskleur, etc) wordt gespeeld, maar het is vooral de toon van de film die opvalt, met onwaarschijnlijk botte humor verpakt in brave burgerschijn. Je hebt er vaak geen idee van waar de man eigenlijk naartoe wil (uiteindelijk is de kern wel pure misantropie), maar het blijft wel hangen. (****)
• Watchmen (Zack Snyder,  2008). Bevat heel wat geweldige beelden (die openingsscène alleen al), intrigerende personages (Rorschach!), goed in beeld gebrachte actie, maar krijgt te weinig ademruimte. Natuurlijk gebaseerd op een knoert van een graphic novel die het geen oneer wilde aandoen. Een aantal scènes is gewoon té lullig (al die blabla op Mars, waarvan de stripfans me ongetwijfeld zullen laten weten dat het zo veel beter was in het boek), het einde sleept veel te lang aan en er wordt te veel geprobeerd om toch maar wat psychologische diepgang erin te rammen, maar het is tenminste een superheldenfilm die afwijkt van de platgetreden paden. (***1/2)
• De eerste aflevering gezien van Mad Men Season 3. Juij.

NP: Kylesa – To Walk A Middle Course

Entre les murs (2008)
★★★★ / ★★★★

I thought “Chalk” was a realistic portrayal of the classroom environment but “Entre les murs,” also known as “The Class,” was grittier and far more realistic. Based on the novel and starring François Bégaudeau, this film was a docudrama about a teacher who tries to encourage fourteen- to fifteen-year-olds to be more passionate about learning via being honest with them and using various methods to find their strengths in a span of one year. However, this year was different because the kids he had last year were on the verge of growing up so, naturally, they began to question his different approaches and tried to constantly push him over the edge, blind to the fact that he was always putting his best intentions forward to try to make them more prepared for the future. This film is very difficult not to admire because it really captured how it was like to be in a classroom consisting on hormonal and highly unstable students. I was in high school three years ago and it brought back a lot of memories. I may not have had the same experiences as the students in this picture because I experienced both “advanced placement” classes and “regular” classes, but the conversations and dynamics in the classrooms were essentially similar. Seeing François Bégaudeau’s character reminded me of my best teachers in high school (unsurprisingly, my favorite classes: French and Psychology) because even though they always try their best and put on a mask that everything is okay, tiny cracks on their armors are sometimes seen and the frustrations leak out like a dam about to burst. I looked at the students who improvised most of the dialogue and I constantly thought that in less than five years, their outlook on education, ability in terms of social interactions and the overall concept of respect would totally be redefined to the point where they would look at this film and probably would not recognize who they were. I also found the interactions between the teachers and faculty fascinating. There were some scenes that suggested that they, too, were like children in the classrooms, which was a nice surprise because most American films about inspirational teachers have this message that teachers are always proper, always wearing decent clothes and always having that need to provide a big speech that would change everybody’s minds for the better. None or very minimal of that American formula was painted here. “The Class,” directed by Laurent Cantet, was a painfully realistic look at our educational systems and it shows that teachers need to be appreciated more even if their best efforts are simply not enough. (Don’t even get me started on how little they get paid for such an important and difficult career.) There was this scene in the end when one of the students confessed to the teacher that she didn’t learn anything throughout the school year, which totally broke my heart. As sad as it was, it’s more honest and more common than we can possibly imagine. That said, it shouldn’t scare us or defeat us; it should only inspire us to find other ways to accomodate such learners.

Entre les murs [The Class] [2008] [d.Laurent Cantet] [s. Francois Begaudeau]

Entre les murs, or The Class, is such a great film.  There is such a real feeling to it, almost like a documentary.  The greatest thing about the film is how the view is all from the teacher’s point of view, Francois Begaudeau, and you see everything the way he does.  The students are just that, students, you never see them at home or out socializing aside from in the schoolyard.  You see them the same amount the teacher does so you get the idea of how hard the teacher’s job is trying to help the students who have problems at school and sometimes at home as well.  The self-portraits in the film are the first glimpse you get into the lives of the students.  The personalities of the students come out as the film goes on and you get to know them a little bit better.  The clash of cultures and ideals cause many conflicts thoughout.  Francois Begaudeau is superb as the teacher and gives a great performance throughout.  The students were great as well and all of them had unique personalities that were allowed to shine even in the confines of a classroom.  I have not that many films about teachers and students but of the ones I have seen, this one is far and away the greatest.  But I would be suprised to find any that capture you quite like this one did.  You really get a feel for what it is like to be both the student and the teacher in this film and in the end it is an excellent film that you will be happy you made time for.  I highly recommend this film and I hope you enjoy it as much as I did.  One of the best films of 2008 for sure.  Definitely a must see for fans of French cinema as well.  5/5

Die Ankündigung des Senders zu Vom Büffeln und Blechen. Nachhilfeunterricht in der Diskussion, einem Feature zum Thema von Anja Schrum, Samstag, 10. Oktober, 8.30 Uhr, lautet:

“Jeder vierte Schüler in Deutschland erhält zumindest zeitweise Nachhilfestunden. Die Gruppe der Anbieter ist unübersichtlich und wächst stetig. Professionelle Institute bieten ebenso ihre Dienste an wie Laien. Eine Untersuchung der Universität Bielefeld zur “Wirksamkeit und Nachhaltigkeit von Nachhilfeunterricht” bescheinigt dem privaten Unterricht durchaus gute Noten. Dreiviertel der Nachhilfeschüler bringen laut Studie bessere Zensuren mit nach Hause; außerdem unterstütze der Nachhilfeunterricht die Fähigkeit zum selbstständigen Lernen. Aber ist das nicht Aufgabe der Schule? Kritiker bemängeln, dass sich durch den zunehmenden Privatunterricht die ungleiche Chancenverteilung im deutschen Schulsystem verschärft. Denn sie koste die Eltern nicht nur viel Geld, sondern verschleiere vor allem strukturelle Schwächen. Ist der Boom des Nachhilfeunterrichts ein “Offenbarungseid” des jetzigen Schulsystems?“

Astazi la ora de Civilizatia Frantei am vazut un film care m-a impresionat foarte mult si pe care vi-l recomand sa-l vedeti,mai ales voi adolescentilor.Filmul se numeste “Entre les murs”.Este un film de lung-metraj care a castigat premiul Palme d’or in anul 2008.

Este vorba despre viata de elev din Franta,despre comportamentul elevului fata de profesori si intre ei.Un film care merita vazut,realizat de elevii si profesorii unei scoli.Un film 100% inspirat din viata reala a francezilor.

Cautati-l si vizionati-l,chiar merita!

Some people might mistake The Class for a documentary. It is very convincing in terms of its visual style, and careful in abstaining from film techniques that may impinge on its realism. Improvised around a script based on the real experiences of François Bégaudeau, (who actually plays the central role of French teacher François) The Class is a treatise on the day to day struggle to maintain order ‘between the walls’ of a contemporary Parisian classroom. Boasting remarkable performances from its young cast of non-professionals, its no wonder that when the film won the Palme d’Or, director Laurent Cantet made sure they all went up to receive it with him – they make this film work.

Beginning on the first day of a new year François warns his class about time wasting, five minutes here and there he says will add up by the end of the year. Of course this ironically comes to fruition as François is constantly side-tracked, thrown off on tangents, and forced to deal with the constant conflicts that occur in his racially diverse classroom. The realism and the riveting drama of The Class come from this situation and conflict. While there are clearly race, class and institutional issues specific to France at play, the film is generally universal in its themes.

I can say The Class is realistic from personal experience. I lost count of the number of scenes that reminded me of situations from my own years in high school. It is that undeclared war between the students and the teacher that is the subject of The Class, a futile war that never has a winner. This isn’t Dangerous Minds, where Michelle Pfeiffer overcomes her class of troublemakers and unites them by the end. Any victories that do occur in The Class are minor, and few and far between.

Discussing a uniform disciplinary system, François suggests it would be impossible to implement, each case must be dealt with on an individual level. When such a case does arise in the film, marking the plots apotheosis, it will undoubtedly polarise audiences. At this point the film reminds us that the decisions teachers must make are monumental, and the repercussions fundamentally life altering. Though set in France, I know this film will strike a chord with teachers and students alike in this country.  

La Clase, cuya traducción original del francés es “Entre los Muros”, fue nominada por la Academia como mejor película de habla no inglesa y galardonada con la Palma de oro en cannes, donde hacía más de 20 años que un film francés no se llevaba el premio.

Su gran éxito se debe principalmente al punto de vista que ofrece el film, que se podría catalogar más como un documental o un estudio sociológico que como una película.

En ella se muestra un curso escolar en un instituto de Paris, asistiendo a las clases de los alumnos, las reuniones de profesores y todo lo que envuelve la vida en el instituto.
El personaje central, el profesor de francés, es interpretado por el mismo autor de la novela y escritor de la adaptación cinematográfica, François Bégaudeau. Los alumnos también son interpretados por ellos mismos, con un talento innato para la naturalidad y la espontaneidad frente a las cámaras.

En el transcurso de la película se abordan múltiples temas sociales, históricos, raciales … ofreciendo el punto de vista de loa adolescentes y de los profesores, proyectando una visión general de la realidad en las aulas.

Con mucho diálogo y poca acción el curso transcurre, no sin conflictos a los que cada uno reacciona a su manera. Algunos de los conflictos planteados no quedan resueltos, pero parece que el objetivo del film, es más mostrar el retrato de un mundo concreto, que contar una historia.Plantea en cierta manera el eterno dilema de hasta donde debe llegar la labor de un profesor, y muestra la dificultad de ejercer dicha profesión, especialmente entre adolescentes. Aunque desconozco el ambiente real de las aulas en los institutos franceses, aunque el film no resulta para nada pretencioso, y resulta muy cotidiano, sospecho que el ambiente esta ligeramente idealizado.

La película ha tenido una importante repercusión en Francia, donde el director Laurent Canet y los alumnos han sido felicitados por múltiples organismos, incluyendo el ministerio de educación y el mismo presidente del gobierno Sarcozy.

La verdad es que está bien narrada y apuesta por un original formato; resulta un film interesante, especialmente como estudio sociológico y aunque al principio parece un poco lenta, consigue que acabes metiéndote en el aula. Es una de esas películas que tienes que ir a ver sabiendo lo que es, si no puede resultar tediosa.

Rebeca Arnal

If films about teachers do, in fact, constitute a genre, then Laurent Cantet’s The Class (PC rating: 4/5) is an obvious attempt to subvert it. Here there are no against-the-odds comeback stories or maudlin I-couldn’t-have-done-it-without-you climaxes, but, rather, only a gritty, documentary-like look at life in an inner-city middle school in Paris. Cantet achieves this sense of realism by giving only glimpses into the backgrounds of his main characters; thus the focus, indeed, is on life “between the walls” (the film’s French title, Entre les Murs, is purposeful!) and on the ambiguous scenarios that unfold there everyday.

Director: Laurent Cantet

*** This is a special extended blu-ray review written for killerfilm.com.

The Film:

Hailed as the anti-inspirational teacher film, “The Class” examines the classroom dichotomy between a diverse group of students and a teacher who, despite his best efforts to be a good man, often makes critical and even offensive errors. The students aren’t exactly portrayed as pleasant, either – they are rude, interruptive, and territorial. The film paints a portrait of an ever-evolving student body in a failed traditionalist educational system – a system which is exclusive, demanding, and more focused on the memorization of verb conjugations than anything we may feel useful in our increasingly globalized world.

“The Class”, which won the Palme d’Or at the 2008 Cannes Film Festival, is the newest film by French director Laurent Cantent. It is based on a novel by Francois Bégaudeau, who plays the film’s “hero”, M. Marin. The film takes place entirely within the walls of a school – whether it be the classroom, teachers lounge, or courtyard. Inside is a low-income and multiethnic conglomerate of students.

M. Marin is a good man, and he tries his best to engage his diverse student body, but he’s far from perfect. The classroom’s laid back atmosphere makes him prone to error – such as when he, unknowingly, disrespects his students or, in a fit of frustration, tells two young girls that they had acted like skanks during a teacher’s meeting. The film, very much about language and communication, enjoys discussing the politics of a term like that. Who is allowed to say it, and to whom, and when is it offensive? Cantet seems to argue that it’s all about the setting – the teenagers are appalled by Marin’s use of such an offensive phrase in his classroom, but when Marin confronts them in the courtyard, their territory, they call him an asshole without reservation. The film, as many people have pointed out, is simply a series of sparring matches between M. Marin and his students.

Begaudeau’s performance is as memorable as any performance we’ve seen this decade. M. Marin is an elusive bag of contradictions, and Begaudeau gains our reluctant sympathy despite some of his poor decisions. He also has a tremendous chemistry with the teenagers in the film – his exchanges with a few of the more outspoken students, such as the confrontational Esmeralda (Esmeralda Ouertani), are nothing short of magic.

“The Class” is a tremendously authentic observation on the politics of the modern classroom. The film doesn’t necessarily hate the educational system, rather it examines the falseness of a traditional system in a progressive climate which is rapidly diversifying. We see students who succeed, students who are dismissed, and students who are simply left behind. “The Class” is a rare treat, and certainly a much more interesting film than the umpteenth “Dead Poet’s Society” or “Dangerous Minds” knock-off. It was one of my favorite films of 2008.

The Blu-ray:

Audio/Video: The 2.35:1 transfer isn’t too remarkable, but then again a film in this cinéma vérité style isn’t meant to look incredibly sharp. It feels a bit dull, but it’s intentional – that being said, it’s probably not the kind of film you’d use to show of the new HDTV. The audio track is good as well, even when it’s especially busy in the noisy classroom environment.

Supplements:

Audio and Video Scene Commentaries: Here’s an interesting take on the DVD commentary. Director Laurent Cantet and writer/actor Francois Begaudeau sit down and comment on several scenes of the film, pausing momentarily to add insight. There are three segments – The Imperfect of Subjunctive, The Courtyard Dispute, and The Disciplinary Board – totaling about 40 minutes in length, and Cantet and Begaudeau are incredibly thorough in dissecting each shot, gesture, and line of dialogue.

Making of The Class: A wonderful documentary on the making of the film. Also running about 40 minutes in length, this piece takes us through the initial acting workshops, to the first screening of the completed film (where the kids find out they’ll be attending Cannes), to the presentation of the Palme d’Or. A touching and intimate behind-the-scenes look at the filming of the movie.

Actors’ Workshop: 30 minutes of improvisations between Begaudeau and the students. It’s shot with a single handheld camera, so it’s not remarkably impressive to look at – but it does present a clear example of the talent of everyone involved with the film. The kids never miss a beat in what are long, intense, and completely unbroken exchanges with the enormously talented Francois Begaudeau.

Actors’ Self Portraits: An interesting feature, if a bit monotonous. The kids all stand in front of the camera and read their self portraits. The feature runs about 10 minutes in length, but it’s not a necessary inclusion.

Theatrical Trailer: The blu-ray disc features the film’s theatrical trailer.

Trailers: The blu-ray disc presents additional high definition trailers for the following: “Blu-ray Disc is High Definition”, “Every Little Step”, “Easy Virtue”, “I’ve Loved You So Long”, “Paris 36″, “Married Life”, “The Jane Austen Book Club”, “Damages: Season 1″, “Casino Royale”, and “The Da Vinci Code Extended Cut”.

Conclusion: I can’t recommend this enough. The film by itself on a DVD-R would be worth the $20 – $30 it’ll cost you, but this disc includes over two hours of enormously satisfying and insightful special features. “The Class” was one of the few films in the history of Cannes to be given the Palme d’Or after a unanimous decision, and it was also an Academy Award nominee. It has not been overhyped.

]]> http://esinemasal.wordpress.com/2009/08/11/entre-les-murs-the-class-sinif-2008/ Tue, 11 Aug 2009 13:16:28 +0000 Rüzgar http://esinemasal.wordpress.com/2009/08/11/entre-les-murs-the-class-sinif-2008/ http://olhodequem.wordpress.com/2009/08/02/bob-ou-bill/ Mon, 03 Aug 2009 01:31:34 +0000 daniel valentim http://olhodequem.wordpress.com/2009/08/02/bob-ou-bill/

Tenho dois primos, professores universitários. Estávamos os três, ontem, no centro de Juiz de Fora, numa galeria de sebos, olhando besteiras como um manual de grafologia, e as edições de bolso da Martins Claret, cujas capas fazem tanto clássicos da literatura russa quanto poemas épicos gregos parecerem os mais recentes fascículos da coleção Sabrina, ou Priscila, ou sei lá o nome desses romances de banca.

Bem, o fato é que, num determinado momento, os dois discutiam se um deles deveria usar o Ética, de Spinoza, numa das classes de filosofia do semestre seguinte – que por conta da gripe suína vai começar lá pelo meio de agosto. O outro rebatia: vai adiantar, eles vão ler?

Mais tarde, à noite, aluguei o Entre os Muros da Escola, do francês Laurent Cantet, baseado no livro homônimo de François Bégaudeau. Numa das cenas, o professor de História chega para o de francês e afirma que está lecionando sobre o antigo regime em sua classe da sétima série, e queria saber se ele (o de francês) poderia usar alguma obra de Voltaire, Candide, Zadig, favorecendo um diálogo entre as disciplinas. Não. Seria murro em ponta de faca. Com dificuldade, usou o Diário de Anne Frank.

Entre os Muros da Escola não é um filme inovador em termos de linguagem (câmera mais solta, apelo documentarista, imagem digital são características já bem assimiladas pelo público), mas o é em termos de roteiro do subgênero em que se inscreve: o de conflito entre professor e alunos de classes menos favorecidas da sociedade.

Os americanos têm longa experiência no assunto, e repetem incansavelmente a história do professor diferenciado, pouco ortodoxo, que se vê diante de jovens sem rumo, cheios de conflitos psicológicos profundos e marcados pela discriminação racial, social ou econômica – o que os torna rebeldes e violentos. No fim, os jovens se redimem, mostrando que eles apenas precisam de um bom guia e de alguém disposto a escutá-los para “entrarem nos eixos”.

No filme de Cantet, os professores são comuns, não têm métodos mirabolantes para “ganhar” os jovens e estão sempre em vias da desistência; e os alunos são rebeldes apenas por que são rebeldes – a questão é biológica, química; não cultural. Digo isso porque todos os conflitos são superficiais, falam de raça ou de religião ou de burgueses como os rappers brasileiros falam do “sistema”.

O conflito é apenas uma desculpa para a violência – verbal ou física –, o estopim para a confusão. No fundo, não há nada. O aluno mais problemático da escola possui tatuado no braço dizeres do Corão: “se o que vais dizer não é mais importante que o silêncio, cala-te”. Duas representantes de classe ganham o direito de participar de reuniões entre professores e diretores, mas passam o tempo rindo e cochichando para depois iniciarem intrigas entre alunos e docentes.

Uma menina reclama que o professor sempre usa nomes como Bob ou Bill em exemplos de frase nas aulas, numa classe em que os nomes se diversificam como Khounda, Boubacar, Wey, Esmeralda, Souleymane, Rabah. Mas onde está sua noção de diversidade cultural quando ela mesma implica com um imigrante chinês que ainda não sabe falar francês direito?

Via de regra, jovens serão jovens: rasos como Bob ou Bill.

Direção: Laurent Cantet

Título Original: Entre les murs

País: França

Ano de Lançamento: 2008

Duração: 128′

Ator que interpreta o professor: François Bégaudeau

Entre os Muros da Escola, vencedor da Palma de Ouro em Cannes em 2008, se caracteriza por problematizar de maneira mais eficiente a relação entre o professor e seus alunos no cotidiano escolar.

Nesse filme, François é um jovem professor que leciona francês em uma escola pública de Paris que se depara com inúmeras contradições e conflitos na sala de aula. Aqui a figura do “professor-herói” ou do paladino que logra mudar as estruturas corrompidas pela violência ou carcomidas pelo conservadorismo cai por terra.

Temos em François, a figura de um professor comum, cheio de defeitos, que, ao mesmo tempo, em que procura incentivar seus alunos com movimentos típicos de um “professor-herói”, também toma, em inúmeros momentos, atitudes equivocadas no seu trato com eles – os quais também não podem ser apontados exemplos de “bom comportamento”. No entanto, seus alunos embora o exponham por vezes a situações extremamente constrangedoras, estes também são caracterizados no filme por sua capacidade de surpreender positivamente.

Uma questão que não deve ser desprezada em Entre os Muros da Escola é como as tensões da França atual, em meio ao massivo processo de imigração característico do mundo atual surgem ali representadas. A escola, nesse sentido, também pode ser tomada como local em que as tensões sociais da França podem fortemente se expressar.

Qui vulgui veure la pel·lícula abans de llegir el post (que l’explico gairebé tota) que clicki en aquesta frase, la peli és molt recomanable i seria una llàstima que sapiguessiu la majoria de les coses que passen sense haver-la vist.

Com definiries la intervenció docent del professor de llengua? Creus que el professor fracassa en la seva tasca?

Si comparéssim amb els tipus psicològics de pares d’aquest professor i tutor de la classe, podríem dir que es tracta d’un professor amb autoritat. Però ell no és el pare dels seus alumnes, així que és un professor que intenta que el respectin donant un marge de llibertat als seus alumnes, però sense permetre que aquests se sobrepassin. Al contrari que la resta del claustre, sembla que és dels professors menys autoritaris d’aquesta escola i això li permet poder fer classe tot i les interrupcions d’alguns dels seus estudiants. D’aquesta manera i com a professor de llengua, intenta utilitzar un llenguatge amb codi elaborat per a que els estudiants deixin el codi restringit que utilitzen per a que d’aquesta manera puguin ascendir socialment. Però els joves de “La Classe” no veuen aquest codi com quelcom que els servirà en un futur, sinó com un llenguatge antiquat que no es fa servir, fent més difícil la tasca del professor.

Els estudiants, no veuen el per a què de la seva educació i això els desmotiva. Van a classe, perquè és obligatori anar-hi. Com diuen al film quan acaben de llegir Anna Frank: “nosaltres no tenim vides interessants.” El que podrien escriure dins dels seus autoretrats, fins i tot a ells no els agrada. Però aquest professor insisteix i al final acaba per motivar-los, tot i que els estudiants continuen sense saber-ne el per a què. I això és el que provoca el seu fracàs, ell els ha donat les eines per a que es formin com a ciutadans francesos capaços d’estar en qualsevol estrat social, però els seus alumnes no saben per a que els serviran aquestes eines, per a ells és com si els haguessin donat el pany d’una porta, però no saben ni que és la pròpia porta en si, ni per a que serveix allò que els han donat.

Existeix racisme a la classe dins de la diversitat existent? Descriu-ho.

Dins d’aquesta classe, no es veu un racisme desesperat i incrustat en els estudiants. Ells, fills de famílies de cultures diferents a la francesa, odien als francesos i se senten més del país d’on procedeixen que no del que estan habitant. Els francesos per a ells son l’autoritat, els que ho tenen fàcil per viure i trobo normal que estiguin un xic empipats.

També hi ha un xic de racisme “provincià”, dels marroquins vers els africans, però te a més veure amb competicions esportives que no amb un odi visceral. També es podria dir que hi ha certa reticència vers el xinès, però és com la reticència d’aquells que treuen males notes als que els hi va bé estudiar.

Quin comportament tenen els pares dels alumnes? Influeix aquesta actitud en el seu rendiment escolar? Quins problemes creus que te Suleyman? Consideres que la intervenció educativa és l’adequada? Que haguessis fet tu?

Com es pot veure en el consell escolar mentre es debat sobre els punts actitudinals, allò que també tenim aquí de: a la de 3 fulls d’incidència expedient disciplinari, els pares intenten que no sigui a través de càstigs que s’eduqui als seus fills. La mare que participa del consell, insisteix en que no s’hauria de castigar, sinó que s’hauria de motivar amb felicitacions als alumnes per a millorar-ne la seva implicació en l’escola. Tot i això, al final el debat dels punts queda en l’aire desplaçat per un tema molt més interessant per als professors d’aquesta escola: el preu del cafè i aquesta reunió no incideix en el rendiment escolar.

En canvi, si que ho fa el fet d’ésser una família completament nouvinguda a París. Wei, el noi asiàtic de la classe, s’esforça moltíssim per a posar-se al nivell d’aquesta i fins i tot superar-lo. Possiblement, ell fill de pares que estan en situació il·legal al país, s’esforça per esdevenir un bon Parissen i continuar en aquest país europeu com és França. Malauradament no li passa el mateix al seu pare, que perquè si, és expulsat com molts pares migrants sense papers de França.

Un cas diferent és el dels pares de Suleyman. Del pare no se’n sap res, sols que possiblement si fracassa en els seus estudis, farà retornar a Mali al seu fill. De la mare sabem que no sap llegir i signa sense entendre res el que li passa el seu fill, i per tant no entén que son incidències que aquest comet i pel que hauria de fer-li comprendre que el que fa a l’escola no està bé. D’aquesta manera sembla que aquests pares, no es preocupin pel seu fill i això fa que el mateix Suleyman tampoc es preocupi per ell mateix. No veu el valor que pot tenir la seva formació, els seus pares se n’ensurten tot i no tenir formació, i prefereix fer de “gracioset” i “passota” de la classe. L’únic moment en que s’adapta una mica al que diu el professor és quan mostra les fotografies que ha realitzat com a autoretrat i que el professor li exposa per a que tothom o vegi. Això el fa sentir bé i que agafi més confiança amb el professor, amb el que s’encara després de que aquest perdi el respecte vers les dues noies de la classe, fet que li genera l’expulsió.

El problema principal amb Suleyman, és que de bon principi no se li paren els peus, no se li diu que ho està fent malament i per tant aquest fa com si no passés res durant tot el curs. A més no se li fa entendre a la seva mare, que les notes que aquest porta a casa, son perquè no ha fet el que hauria d’haver fet. Si hagués estat jo la professora, potser haguéssim tingut una bona xerrada a principi de curs, intentant fent-li veure que el que s’ensenya a l’escola li servirà per a que en un futur pugui tenir més oportunitats a l’hora de cercar feines millors que les que podria trobar sense estudis. També intentaria fer comprendre a la seva mare, la funció de les notes que aquest porta a casa i per tant que ella fes el que calgués fer-li al seu fill quan aquest presentés alguna nota d’incidència. Possiblement, hi ha un moment en que Suleyman hagués pogut canviar la seva actitud, quan presenta les fotografies. Com a fotògraf, aquest noi tindria futur, però no si no acaba els estudis. Aleshores, el que es podria haver fet és parlar amb ell, incidint en la professió de fotògraf, però fent-li veure, que abans hauria d’aprendre moltes altres coses, ja que quan estudiés fotografia, necessitaria les matemàtiques i les ciències per a saber enquadrar, mirar angles de llum, etc. Hauria de saber un xic de socials per poder discernir entre allò que fotografia i òbviament, hauria de saber llengua per a expresar-ho i expressar-se amb la gent a qui fotografia. A més de que hauria de superar les proves per a entrar a fotografia, amb el que s’hauria d’esforçar per a superar la secundària.

Comenta en 10 linies la pel·lícula des de un punt de vista cinematogràfic.

El director d’aquesta pel·lícula, deuria llegir el llibre del seu protagonista: el professor de llengua François Bégaudeau, que l’any anterior havia escrit el llibre “Entre les murs” (Títol original d’aquest film). I deuria pensar que estaria bé filmar-la amb els mateixos protagonistes del llibre. Així doncs i com si es tractés d’un projecte didàctic de filmació d’un documental, el director ha agafat els mateixos protagonistes del llibre d’aquest professor i ha filmat durant un curs la classe d’aquest, amb els fets que deurien passar l’any anterior a la publicació del llibre. Els únics estudiants que no apareixen i que han estat substituïts son Suleyman, interpretat per Franck Keïta i Sandra, interpretada per Esméralda Ouertani.

El director utilitza plans curts amb una càmera que gairebé mai s’està quieta, fent que l’espectador estigui intranquil, com l’ambient d’aquesta classe. També fa servir els primers plans dels estudiants deixant que la resta de la classe quedi en pantalla per a mostrar el que fan la resta dels companys. En canvi, el director acostuma a mostrar al professor sol davant la càmera, fent veure a la gent la soledat i l’autoritat en la que es troba davant d’aquests nens que no veuen que aquest tan sols els vol ajudar.

The Class | Laurent Cantet, 2008

The first French film to win top prize at the prestigious Cannes film festival for 21 years, Laurent Cantet’s The Class – Entre les Murs; literally meaning “Between the Walls” – has certainly exceeded its own tidy ambition. Set in Paris at an inner city middle school, the film follows a focused young teacher as he attempts to tame a trying group of boisterous teenagers over the course of a year. The tale is actually a self-autobiographical one, written by lead actor François Bégaudeau – a writer who has worked for Cahiers du Cinéma and published a handful of successful novels – about his trials and tribulations working in a similar situation during the nineties. Now, with the help of experienced French writer/director Laurent Cantet he is able to bring this rather personal story to the screen first-hand by turning his hands to acting. The Class takes a somewhat well-trodden concept and breathes new life into it; we’ve all seen movies that take a passionate teacher and class of unruly students from poor backgrounds, mixing them together with a dose of overbearing drama to reach a typically positive conclusion. The Class, however, doesn’t allow the audience such an easy ride. As the title suggests we are there for every bit of heightened tension and every single inspirational moment, though without the usual melodrama.

The Class deftly recreates the kind of problems to be found in a multi-ethnic Parisian middle school, and perhaps more than usual we should be thankful to the writer for this. Not only do the real-life struggles of Bégaudeau allow us a valuable insight into this world, his performance is also surprisingly adept given his lack of acting experience. Of course, with such a young cast it is often difficult to maintain this high standard – each student plays his/herself in the film – but performances are strong and genuine without exception. I can’t help but compare The Class with an English television series of a similar setup – Teachers, as it was imaginatively titled, offered a similar look at the middle school tier of education over in England, though with an exceedingly neurotic central character and general hilarity throughout. Where Teachers took the inadequacies of national eduction and poked fun at it to great success, The Class takes its positives and highlights them; the passion of these teachers and their daily battle to connect with an increasingly restless audience. This isn’t an ambitious film by any means, neither does it have a general direction in which we are encouraged to look, it does however offer us – without an underlying social or political message – a look at today’s schools that makes for highly engaging viewing.

Our Rating:

Buenísima.

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Entre les murs

Film bertema pendidikan yang sangat mengena dalam menceritakan bagaimana proses ajar mengajar berjalan. Dengan hanya berlatar di sekolah (dengan sebagian besar di dalam sebuah kelas), Entre les murs dengan unik menggambarkan begitu tidak sederhananya kegiatan belajar mengajar sebuah kelas SMP di Prancis. Perdebatan, pertemanan, masalah remaja, hingga rapat orangtua-guru ditampilkan dengan apa adanya di sini. Dan kita akan dibuat terperangah dengan betapa dewasanya pendidikan SMP di Prancis karena begitu menghargai pendapat dan demokrasi dalam tiap segi dan proses kegiatannya. Sebuah hal yang langka di negara kita, Indonesia.

Entre les murs merupakan sebuah pencerahan bagi peminat film yang bertemakan pendidikan khususnya, maupun peminat drama secara umum. Tonton film ini, maka kita akan belajar bahwa pendidikan tidak hanya sekedar proses transmisi ilmu dari guru ke murid, namun lebih dari itu sebuah proses untuk menjadi dewasa dan pembentukan karakter bagi semua yang terlibat di dalamnya.

Penilaian Film: 4/5

I saw the 2008 Cannes Palm d’Or winning film, Entre les murs (The Class) last night at Shortwave Cinema. It was excellent. It’s a fictional story shot in a semi-documentary style with teacher and author François Bégaudeau in a lead role and non-professional students as the class. It’s a fascinating, changing, shades-of-grey story of real life in a multi-ethnic Parisian classroom. It avoids cliché or emotional tricks. It shows no one’s perfect. It shows how life goes on. It’s very good.

The Class may, in fact, be the perfect movie to showcase my struggle with film as an art form.  Is film meant primarily to reflect reality as it is or display reality as it could become?  Is art meant to show us ourselves or the best version of ourselves?  I wonder if film, as a narrative art form, is meant to show us ourselves at the outset and throughout the course of its telling show us what we could become?  Truthfully, I’m not sure there is any one thing film is supposed to be . . . except perhaps entertaining.  And this brings us back to the film at hand.

The Class shows us the underbelly of a contemporary French classroom and, sadly, does very little else. The film’s characters don’t really grow, life plods on as normal, and by the end one wonders “what’s the point?”  Of course, that may be the point . . . that school is cyclic, students don’t really learn much, and teachers desperately need it to mean something, to someone (perhaps mostly themselves).  As a film, The Class falls neatly into art category #1 – reflecting reality as it is and providing few glimpses of what it could become.  As a viewer, I have to accept that this is the type of narrative the film’s creators have opted to tell.  What I don’t have to accept is that this particular narrative is entertaining.  And guess what?  It isn’t.  Not even close.  The best The Class can offer is a lesson in futility and that’s a lesson I’d gladly skip and recommend you do too.

The Class(English title) – Entre les Murs(French Title)(translate :Between the Walls)

The last movie that I saw that takes place in a class room was The History Boys, adapted from a Tony Award winning play of the same name, about six boys who prepare to get into Oxford. However, Entre les Murs(in a documentary style) explicitly shows the struggle between the Class Supervisor and his students of well diversed multi ethnic group aged 13-15 during a 9 month period (academic year). What this movie provides unlike most other School based movies is this seems very realistic and closer to the truth.

The film follows a period of a Class supervisor of a school in Paris, François Marin(François Bégaudeau-who also wrote the novel of the same name from which this movie is adapted) who believes in keeping his easily distracting class engaged in what they learn every day. Among the group of students are notably Esmeralda and Khoumba, tries to pull Francois’s leg at every opportune moment, Souleymane whose attitude is unwelcomed, Wei a calm, smart Chinese kid who might be deported because of his illegal status in France. As much as François tries to keep his class in the subject he teaches and part discipline as much does the students tries to abstain from him. For instance, When he is about to explain the past imperfect tense with an example with the subject as ‘Bill’, his class questions him as to why does he resort white names when he could easily use regular names in which all the students say out names from their culture or after they read a memoir of Anne Frank, he asks all his students to write an autobiography only to face questions as to why they should write as they have lived only for 13 years or as they are not famous. All these instances happen only to make him an angry man therefore giving out sarcastic answers to hide his anger and later showing anger to the class representatives (calling them ’skanks’) which led a series of events to suspending Souleymane(and later expulsion) and an embarrassing inquiry with the principal and other officials . After all that François still cared about his students, whether the expulsion of Souleymane would have him send back to Mali to work in the fields or whether he could help to keep Wei in France or seeing to that he could discipline his students and get them to learn something.

Whats amazing about this movie is that even though it is a semi autobiography of François the stance of the film is not to the student or the teachers. I didn’t quite get a scene at first in which a teacher was points out each in a list to a new teacher in the school as nice, nice, not nice, not nice etc., it was after some time that it struck me that list is of the students or the scene where the teachers discuss whether they could contribute some money for Wei and represent him with recommendation at the court, only for the tone to change because one teacher couldn’t contribute as she is two months pregnant therefore opening a champagne bottle , made me baffle whether they truly cared about Wei, but when they raised to toast wishing a good Wei and his family made me understand their helplessness.

The performances in the movie is natural enough for the audience to take part in the class. As I read, most of these folks acted for the first time, especially the kids in the classroom. A commendable mention about the ones who played the characters of Esmeralda and Khoumbha, whose characters were so lively.

The closeups and the long continuous shots in the classroom only makes us part of the classroom and it makes us think and understand the frustrations of the teacher and the students. Unlike most of the schools in India where the teacher dictates and the students take notes, in this movie a rather democratic view of a classroom is shown, which is contradictory to the system over here for which I bet it will not be welcomed until some years. I remember similar classroom scenes during my school years in Montfort when we were busy trying to change the topic of the class by asking silly questions. I remember in my French class, going from verb conjugation to French lifestyle to French movies to rajnikanth movies, before the teacher knows it the period is over or like when we used to fight with the teachers when they call us names or when we insult their funny accents. School life for students or teachers is not easy, there is a lot to live up to but when we look back we know that it wasn’t that bad.