Entre les murs (Collection Folio (Gallimard))

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Peter Knegt (23 January 2009). " 'Public Enemy' Takes Record 10 Cesar Nods". IndieWire . Retrieved 19 June 2017. Success comes when he asks the pupils to write a self-portrait. An assertive girl called Esmeralda reveals that she would like to be a policewoman or failing that, a rapper. A difficult boy called Souleymane, weak in written French, submits his story in an interesting series of photographs (at a parents' evening, his mother cannot speak French at all). However, after an argument over football teams with Will, another boy who is problematic, Souleymane insults François and is sent to the head teacher's office. Manohla Dargis (26 September 2008). "Laurent Cantet's 'The Class': Learning to be the future of France". The New York Times . Retrieved 19 June 2017. Le tournage du film s'est déroulé durant les vacances scolaires d'été de 2007 au lycée professionnel Jean-Jaurès dans le 19 earrondissement de Paris [15 ].

Shot in what lazy critics have termed a “documentary style” (but with a glossy, widescreen aesthetic that corresponds to precious few documentaries), Cantet’s film certainly makes efforts to maintain an ironic distance from both lived experience and its source material. Perhaps consciously avoiding the embarrassing disparity between documentary idealism and old-fashioned greed which resulted in the gentle rural schoolmaster of Nicolas Philibert’s Etre et avoir (2002) suing for a cut of the film’s profits, Cantet’s film is securely anchored in the fictional realm. Skillfully dodging James Frey-style fabrications, former junior high-school teacher (and Cahiers du Cinéma contributor) François Bégaudeau plays a fictional version of himself based on his autobiographical novel . Self-effacing (in a suspiciously arrogant fashion), Bégaudeau insists in interviews that he is “not a star,” merely the “main character” in a supremely democratic film. And in a loose narrative directed by a non-doctrinaire leftist, the emphasis is primarily on the interchanges between the intrepid, but conspicuously flawed instructor, and the students, played by appealing non-professionals, in his always lively, multicultural class. The superficial spontaneity of the classroom scenes was the result of meticulous preparation. The cast participated in extended workshops in which—prompted by Bégaudeau’s suggestions—extended improvisations formed the basis of the final script. Talking with Cantet about his process for this film, a former teacher himself, it is clear from the start that this is a topic very personal to him. “In France we have a very old debate on schools. The debate is always very ideological. I wanted to try to show what really can happen in a class like that. Just look at what’s happening and then people can think about that then make their own mind on that. The other point was that I think looking at these little microcosms you can describe all the issues where society is now facing without really looking at the issues. We sometimes try to avoid to look at the real issues because it’s easier to have preconceived ideas on things.” As with any new school year, Francois and his fellow teachers anxiously look forward to the new crop of students as well as those returning, wanting to provide the best education possible to these young people. Despite frustration and problems in the past, the faculty is optimistic and enthusiastic, desiring to challenge and educate not only their students, but themselves. Concentrating primarily on two dozen students in a language class where proper French vocabulary and grammar is the focus of attention (yes kids, even in France students are taught, or forced to endure, grammar), we are privy to this microcosmic intimate portrait and anthropological study of teachers and students. What makes this film so compelling though, is the interaction between the students and their teacher, Francois. But the biggest surprise comes from the fact that the “students” in the film are not Francois’ students, but are, in fact, students from Francoise Dolto Junior High in the 20th arrondissement, all of whom were ultimately cast for this film after taking part in acting workshops held by Cantet. It is their “acting” and ability to bring realism to their scripted roles that bring it all home, making THE CLASS the success that it is. Rebecca Leffler (19 January 2009). "Biopics in Lumiere spotlight; 'Class' best pic". The Hollywood Reporter . Retrieved 19 June 2017.

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Laurent Cantet’s wildly diverse oeuvre takes another turn with this absorbing improvised docu-drama revolving around teacher-pupil relationships in a school classroom and shot using real teachers and students from a Paris school over the course of a school year. The film focuses tightly on the dynamics and concerns of the classroom, never straying into details of the lives of kids or adults outside. Yet even though it takes place entirely ‘entre les murs’, it offers a rich microcosm of today’s multi-ethnic French population and fascinating insights into the complicated dilemmas and misunderstandings which teaching - and indeed learning - can entail.

Sauf indication contraire ou complémentaire, les informations mentionnées dans cette section peuvent être confirmées par la base de données d' Unifrance. Dix ans plus tard, Brigitte Tijou donne la parole aux mêmes jeunes dans son documentaire «Les Marches de Belleville» [24 ]. From the start, wide differences are apparent in the class over standards of dress, deportment, knowledge, and application. A dispute arises over using the imperfect and pluperfect subjunctive, which he admits may be a bit of an affectation and a student questions whether François is gay. When pupils have to read aloud from The Diary of Anne Frank, a girl called Khoumba refuses because she does not consider it relevant to her life. In private, François forces her to apologise.Sociétés de distribution [5 ]: Haut et Court (France); Cinéart (Belgique); Filmcoopi (Suisse romande); Métropole Films Distribution (Québec) Susan King (22 February 2009). " 'The Wrestler' wins at Film Independent's Spirit Awards". The Los Angeles Times . Retrieved 19 June 2017. Eugene Hernandez (8 November 2008). "Awards Watch With 'Gomorrah' and 'Il Divo,' Italy In Spotlight at 21st European Film Award Nominat". IndieWire . Retrieved 19 June 2017. The year ends on an lighthearted note with a soccer game between students and teachers. Marin joins in, and becomes the hero of the hour when he scores an artistic and much-applauded goal. Update this section! Il s'agit d'une adaptation du roman homonyme de François Bégaudeau, lequel a joué le rôle principal du film et cosigné l'adaptation cinématographique avec Laurent Cantet et Robin Campillo. L'histoire s'inspire du vécu de l'auteur lorsqu'il enseignait au collège Mozart, un établissement parisien situé en ZEP (zone d'éducation prioritaire).