Of the above films, the latter two are personally more sensitive. So I have been procrastinating, looking for various reasons not to watch. Especially Polisse, in addition to personal stories, the female director Maïwenn Le Besco after winning the award at Cannes, said a few words and two breaths that the style of infinite style is physiologically disgusting. You say you're Luc Besson's girl after all, ok "once", but still... you're making people question LB's tastes (he likes toothy models, everyone has always known).
Curse 7:30 in Paris! No matter how disgusted the black house is, this is the only one. French newspapers called the film "a snipe against pedophiles", but in fact the film involved a variety of cases, from parents who put underage children to work, to marriages where parents ordered a matchmaker (in France you can get married at the age of 16). , but requires the consent of the guardian), children who go to SDF need to cover their heads, parents punish children violently, and crimes between minors such as fighting, rape, and even children complaining about their father's bigamy. Of course, most of them are still sexual abuse of children by adults, whether they are unintentional, such as the father touching his little daughter's genitals excessively when helping her little daughter to pee and urinate, or ignorant, such as the mother using her baby's genitals to make him " Calm down." Of course, most of them are old criminals. The grandfather sexually assaulted his granddaughter, the father confessed that he likes to "sleep with my daughter", and the physical education teacher molested the students.
Although I have known for a long time, I have seen it for a long time, such a form of perversion is still disgusting.
If you take one of the cases as the main line and spread the main line of the victim's side, from collecting evidence to closing the case, this movie will be much more powerful, and Xu can really "snipe pedophiles". Unfortunately, in the film, these underage victims are just beautiful foils for the police aunties. After watching the film, I feel that I am more interested in the private lives of the police. Slightly adding one or two, it helps to make the police in the film seem flesh and blood, and helps to strengthen the realism of the film, but the bald man's marital conflict, the black man's family crisis, the eye shadow girl and the little handsome guy's extramarital affairs, the blond woman The divorce cups, the ponytail girl's anorexia problem, and even the soy sauce girl and soy sauce man who basically do nothing to the plot are assigned the characteristics of "drinking" and "overviewing". This family is short-lived, and it is enough to make it into a police and bandit TV series. So it's no wonder that apart from the part where the police officers ask for testimony, the other time they spend seriously discussing the case and deploying actions is less than one-tenth the time they spend yelling at each other.
As a director who is "naturally narcissistic and hard to give up", after the first two films were criticized for being too "self-centered", this toothy beauty (who said that she is like Karen Mok's me as a villain stabs you to death!) Finally, a little low-key, played a silent and introverted photographer in the film, becoming the terminator of the black male family crisis. However, I would like to ask, what is the use of this role outside the organization? Does she flirt with the black man, kissing and gnawing at the same thing has nothing to do with the theme or plot? Even her twin daughters and her daughter's father have to play a role in the plot. Is it too far away (I always thought that there would be child abuse incidents in their family). If she gets stuck in this role, how she shoots, cries and cheats will have no effect on the film at all - it should be said that there are only benefits.
Suffice it to say that the stress and work of a police officer is causing trouble in his private life, and the problems of those other people are enough. More than this pair. Moreover, this inexplicable elopement plot is not romantic, and it has no use for regulating emotions at all. In fact, the feelings have arrived, and there is no need for such nonsense. After the handsome guy was injured, the eyeshadow girl went to the hospital to see him with a big belly. He held her hand and asked Tu m'aimes quand même un tout petit peu that although cliche, my sister cried. Ah, the two of them took less than a few minutes before, and they never hugged or gnawed. This is called efficiency!
Thankfully, the script also occasionally leaves the police POV to unfold the victim's backstory, but since the case isn't prioritized, it's all the same process -- reporting, questioning, yelling at the police, coming and going , the two-minute background story and the five-minute foreground handling of the case, sandwiched between the chaotic trivia of a group of police officers teasing each other at a collective party, it just looks more and more messy. At the end, the jump of the ponytail girl Iris is edited with the floor exercise picture of the little boy molested by the gym teacher. The intention is to say that these police officers are also affected by these cases while saving these children every day. Rescue. However, combined with the highly suggestive plot that Iris named the dead baby from the raped girl named Iris, it seems that in this messy story, the only thing that is clear and consistent throughout the whole process is that Iris is the protagonist of the film. illusion.
This film finds a very good subject matter and also has a good idea - to let everyone face up to the various mistakes that adults in the society commit unintentionally or intentionally to children, and to show the difference between the daily work of the police officers of the minor protection group and the general police. , and the particular mental stress they face (there are many cases, such as rape, when the victim is a child, it will have a greater impact on the third person), it just lacks a reasonable script to balance these relationships.
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