Necessary Boho Clothes

Film of the week - February 9

The Prophet of Jacques Audiard

Synopsis
The nineteen year old Malik was sentenced to six years in prison. Young and fragile, but despite being nearly illiterate extr intelligent, Malik begins to carry out "missions" for a group of inmates courses that have imposed their own law within the penal institution. Over time, the boy gained their full confidence soon able to exploit the situation to their advantage.


The film may contain a gender? How the world can get into a movie? Majestic for life and ambitions, the prophet openly challenge their idea of \u200b\u200bthrowing bombast in the field laws (fundamental but unwritten) of cinematic storytelling.

First, the space : a Parisian prison, a place complete, anonymously, a no man's land where the national identity, dispersed in a globalized society and for this contested by political forces as a weapon of offense, it retrieves the value of ethnicity and belonging, "tribal" to decide the survival or abuse of any prisoner. Then, the time : endless, as for all those who end up in, no matter if sentenced to one year or thirty, time slows down and speeds up, time to wait at the decisive moment that can cut or save a life . Then a face and body, a hero Malik, played impressive Tahar Rahim, a statue of impassivity that strengthens gradually with the knowledge of prison rules and awareness of its value without changing expression, rigidity of classical form on which to project the identification of the viewer. Finally, the world and its infinite stories: stories of political prisoners with the time course become gangsters, thugs killed in a test of courage that look like ghosts, fellow lock with cancer, a widow and to care for a child, stories of secret wars between North African and French, of unknown languages \u200b\u200bto learn to save his skin, stories of power and control, ambition and fear. Stories of Men, in short.

Men Audiard, from Malik, does not forget never to put at the center of his film, the first of the narrative and the rules of the prison film, turned over the structure of the genre, staging what is the rise to power of a prisoner smart and brave, but especially the history of its survival, its reaction to that very human thing that is fear.

is that, in fact, that the prophet speaks : instinct, a guy who works to win and not die, what reason coolly on its choices in response to a desire for animal life. The genus survives the fall and rebirth of his parable, because it never overpowers the central and at the same time does not waive its own rules, to their drift (the ghost of the first victim of Malik, premonitions almost divine, the final impression biblical ironically) and improbabilities (all those dead in central Paris and no one bat an eye!). Rather, an event that crosses subtrack Malik in the heart but that never fails to regenerate, to breathe like a piece of real life.

Malik is the privileged view of the story, his physical presence is the source of each event, but in his lonely battle to get to guide the institution that has locked up is just one of many pieces, the main, prepared by world Audiard. That world exists outside of prison and finds space not only in the temporary exit of Malik, but also in the faces of men and women in the scenes glimpses of the parlor, past the shoulders of the protagonist and beyond the lifetime of each scene, thanks to ' delay of the camera.

There is a continuous breath that pervades the images and stories of the prophet . Audiard handles extraordinarily fluid that accumulates on the gusset piece, choosing to divide it into several chapters to important and useful life, devoted to each character met in prison Malik. A structure that, without fearing the risk of comparison, has reminded us that of Rocco and His Brothers , because basically it is the pitch masterpiece maximalist Audiard has miraculously found. The pace of the story that embraces all and understands all pleased to enclose an anxiety in life within the cinema.