cité” in Montfermeil
In Xiang Biao's words, this is a movie from a "squire". As a "squire" who has lived and photographed in Montfermeil for a long time, Ragiri has accumulated a set of thinking system and expression experience of flying close to the ground from these experiences. That is to say, he knows how to explain the bad things that happened in cité, and he also knows how to translate this narrative into a cinematic language. So, despite being a feature-length debut, it can be said that Rajli's entire life prior to this film was in preparation for Les Misérables. A real weight is enough to overwhelm the din of all genres (the yearning for approval screeching out among all the cookie-cutter techniques of expression).
My use of the word "existence" here is very contrived, not to show the life and fluidity of the film's narrative. On the contrary, as a less professional and dedicated viewer, after reading the whole film, a clear vision of community politics has formed in my mind. In Les Misérables "existence" is not represented as a rambling (not a derogatory term here) life, but rather as a warm, perceptive, clear and self-proclaimed systematic description of the world of life (because I am not familiar with modern social science theory) , so the word "deep drawing" is avoided here). I always summed it up as "special temperament" before, but now I think it may be the same as the so-called "squire". Rajli's identity as a filmmaker adds an artistic appeal to this description. For example, the ingenious setting of the drone shows the audience the residential area from the perspective of the child's aerial photography. The child becomes the incarnation of God and the director. It is a retrospect after take-off and an intervention after transcendence. Like the confrontation between a lion and a child in a circus cage, it is difficult for me to describe this scene as a turning point from destroying traditions to building a new power system. Instead, it is more like pulling the calm narrative on the ground from the picture and letting the oil painting From the usual pure realism, it has become a postmodern reflection and re-creation. The source of everything in the whole film is the mythical little lion, and the subsequent events follow the political logic of the community (the participation of the newcomer Dabeitou makes things more complicated), so the relationship between reality and mythology Totally sticky and difficult to break down relationships. That's the beauty of art. Another example is the overall style of the BGM of the whole film. I don't know how to define this kind of music, but I feel that it is playing almost religiously solemn melody in a very modern sound quality, which actually reminds me: the relationship between Rajelli and Hugo That isomorphism, the dislocated historical situation and the same French feeling. I think this is probably not far from the positioning that Rajli has set for himself. Compassion becomes the last ruler of expression and intervention.
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