Oscar winner Jean Dujardin starred in Chronicle Chronicle of the Five-Day Chase Cédric Jimenez to find the perpetrators behind the deadly Paris 2015 attacks.
The type of thriller who was so trapped in his panting and endlessly against time, never completely stopped to consider what he wanted to say, November (Novembre) followed the Crack Team of the French anti-terrorist agent when they tried The destroying attack that hit Paris in 2015.
Directed by France’s New Resident Action Expert, Cédric Jimenez (The Stronghold, The Connection), and Featuring An All-Star Cast That Includes Jean Dujardin, Anaïs Demoustier, Sandrine Kiberlain And Jérémie Renier, Resources (the budget registered at $ 13 million, which seems low compared to high production values) to describe what happened in five days between November 13 – when the jihadists reached several targets in Paris, including the Bataclan concert hall – and the ones The 18th, when the authorities trace two of them in the northern suburbs of Seine-Saint-Denis.
The two events ordered films and, in what might be the wisest director’s decision in November, Jimenez never showed the first. Conversely, after the opening scene where the head agent Fred (Dujardin) lost the trace of the suspect in Greece a few months earlier, we cut it to the headquarters of the anti-terrorist team in Paris when the Bataclan attack began. A sole agent at Nightshift received a phone call in the office. Suddenly, dozens of other cellphones began to ring, and it was clear that something majoring had come down.
The art of suggestions implied by the initial order is completely absent from the remaining films, who followed Fred and fellow Ines (DemoStier) agents, and Héloise bound by the office (Kiberlain) and Marco (Renier), while they scrambled like a crazy person to find two The shooter who managed to escape. We see every door that is kicked by the police, every telephone they knock, every suspect they interrogate and every fake lead that they follow, with a Nicolas Loir camera is forever repaired to Rig Steadicam when he tries to compensate to catch bad people.
Jimenez and writer Olivier Demangel (who also wrote movies and film soldiers Omar Sy, in this case) seemed to be obsessed with Verisimilitude, shooting at an actual location where the events occurred and held closely to the real investigation. There is a docudrama side until November which was executed well by the cast and crew, but beyond that, what was the film? Good, not much.
The model here seems to be Kathryn Bigelow Zero Dark Thirty, who re -hunting for ten years for Osama bin Laden in a thrilling way. But it also asks a bigger question about American places in the post-9/11 world, moral implications of torture and existential meaning in completing your mission without having a place to turn the next. Things like that are mostly absent from November, except, maybe, in some scenes related to Samia (very good Lyna Khoudri), a Muslim girl who decided to hand over her own roommate (Sarah Afchain), suspicious that she has a relationship with his terrorists.
It turned out to be the main advantage for Fred and Ines, and the last one must lie to Samia to get what he needed. That moment gives short pieces of human drama in what the opposite is a film that is driven more by adrenaline than brain power. There are also some confusion about who and what and what, with Jimenez never gave a title or explanation. We don’t even know the name of the service caused by Fred-it, it seems that SDAT (Sous-Direction Anti-terrorist)-or the chain of command he is doing. What we know is that there are many people who run around, go around or stay away all night at their table. Has anyone ever slept or eaten?
Such an approach has a limit, although at that time it could also produce results, especially during a terrible sequence, the edge of the chair after the police finally cornered the jihadists in their small saint-saint hiding places, and all hell was released. According to reports at the time, nearly 5,000 bullets were fired during the night attack by French authorities, and you can be sure Jimenez includes everyone in his film.
In the same way, the director flex the muscles of the action on Marseille-set The Stronghold, which is a local hit in 2020, raising the audience back to the cinema, and which displays several amazing sets but also seems blind France of the police at the expense of others. ;
November adapted one -the point of view of law enforcement agents as well, but the real problem is that we never know who these people are behind the uniform. By limiting himself to pursuing five days without stopping, this film finally limits its scope. At most we can take part in the journey, step on the gas and never bother looking back.