(AFP) – Overwhelmed and destitute hospital caregivers, “yellow vests” beaten up by the police, social classes who look at each other: with “La Fracture” , in theaters Wednesday, Catherine Corsini exposes the tears of French society.
The film tells the story of Rafaela (Valeria Bruni Tedeschi), a designer in a relationship with Julie (Marina Foïs), an editor who wants to leave it. When the two women land in the emergency room after Rafaela fell, they meet Yann (Pio Marmaï) a “yellow vest” trucker injured by a grenade fired by the police.
Shot before the Covid crisis – 19, “La Fracture” echoes the situation of French hospitals and caregivers, who already denounced before the epidemic a structural lack of means.
“With this film, I wanted to pay tribute to the caregivers who take care of all of us”, explained the director to AFP during the presentation of the film in Cannes, where it was in competition.
– “Cinéma engaged” –
By juxtaposing individual stories – the Rafaela’s arm fracture, the fracture of a couple, but also the fracture of a part of the population – the director weaves a powerful political narrative, not only on the resurgence of social tensions under the presidency of Emmanuel Mac ron, but at a precise moment, at the height of the social crisis of the “yellow vests” where France could have turned into the unknown.
“For me, it is It was really important to talk about France today, ”says Catherine Corsini. “I wanted to place my cinema in an emergency because society is more and more violent, social misery has set in. At one point, I said to myself that my cinema had to become more engaged, more political “, she explains to AFP.
Violence against caregivers, social and police violence against demonstrators: the film shows a society deeply divided and bruised, echoing the film “Les Misérables” by Ladj Ly, Jury Prize at Cannes in 2019.
Until now, the cinema had little seized the subject of “yellow vests”, with the exception of “Clear history” (2020), by Gustave Kervern and Benoit Delépine, and two documentaries: “J’veux du soleil” (2019) by rebellious deputy François Ruffin and David Dufresne’s “A Country Who Keeps Wise” (2019 – the latter more specifically on police violence against demonstrators.
– “A little autobiograph ique “-
” A little autobiographical ” , the film was born after a stint by the director in the emergency room. “That day was the first day of the + yellow vests +, she told AFP. I then stacked a lot of things, I imagined the injured … Despite everything, it was was important for me to stick to reality. “
Thanks to a partly unprofessional cast, including Aissatou Diallo Sagna, who plays Kim a dedicated but outdated nurse – and a work of documentation on the events, the film takes, at times, the appearance of a documentary.
Carried by characters who end up going beyond their clichés – the “Parisian bobo” couple formed by Rafaela-Julie, Yann the provincial “proletarian” with confused anger – the film, often touching, is also full of humor.
“Often, when we talk about political film we have the impression that we are going to teach you a lesson (…) But it is through humor that people meet “, she underlines. “This is precisely what the film is about, namely how we could have a society where people look at each other, listen to each other and can talk to each other.”
Presents in watermark throughout his filmography – “The Lovers” (24), “The repetition” (2001), “The beautiful season” (2015) – female homosexuality, is also at the heart of this feature film: “Over the past fifteen years, things have changed, people of my generation have managed to say what they were”.
The film is gone empty-handed of the Cannes official prize list but won the Queer Palm, which rewards each year a film dealing with LGBT themes among all the Cannes selections.