Samir Guesmi has been carrying around his long figure and his childish smile in French cinema for 30 years, Wild nights by Cyril Collard in 1992, until Camille redoubles by Noémie Lvovsky and The aquatic effect of Solveig Anspach, he imposed the accuracy of his game, Ibrahim is his first film as a director.
Samir Guesmi present on both sides of the camera, he is Ahmed, a scale in a Parisian brasserie, single father of Ibrahim, a teenager in search of landmarks who awkwardly slips into petty crime.
The quieter Abdel was, the more he interested me in playing Ibrahim.
From this conflicting father-son relationship, weighed down by recurring silence, Samir Guesmi weaves a convincing story, tender but without pathos, he knows how to film the absence of words. Ibrahim, the astonishing non-professional actor Abdel Bendaher is as touching as he is slap in the face, Samir Guesmi found him just a few weeks before the start of filming.
In 2019, the city of Gagarin in Ivry-sur-Seine, deemed dilapidated, was destroyed, with it collapsing the vestiges of the working-class utopia of the 1960s when HLM rhymed with social progress in the red suburbs that surrounded Paris.
Gagarin by Fanny Liatard and Jérémy Trouilh recounts, between realism and dreamlike, the last moments of this great ensemble, inaugurated in 1963 by Yuri Gagarin, the famous Soviet cosmonaut.
We sought the balance between realism and dreamlike.
Youri, 16, the aptly named, grew up in Gagarin, where he has lived alone since his mother abandoned him. He refuses the demolition of the city, dreams like his space hero and builds a replica of a spaceship in the empty apartments. With former inhabitants and professional actors, the two directors tell about the intermingling of communities, solidarity, far from clichés on the suburbs.
The decumentarist followed a storming of the Bastille which shook the conservative world of opera. In 2019, The gallant Indies de Rameau performed at the Paris Opera in a landmark production, director Clément Cogitore and choreographer Bintou Dembélé invite 30 young dancers from hip-hop, krump and voguing to the stage.
The grafting of urban dances onto the masterpiece of 18th century French classicism takes on wonderfully, the documentary illustrates a very beautiful artistic and human encounter between two worlds, apparently so distant.