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rating=4531 Votes Country=France Resume=A cop from the provinces moves to Paris to join the Anti-Crime Brigade of Montfermeil, discovering an underworld where the tensions between the different groups mark the rhythm casts=Damien Bonnard, Alexis Manenti User Ratings=8,5 / 10 Stars 2019. I just can't listen to this without crying. It's too catching and beautiful. 27alouvai ha 27kha 27yim watch free style. 27alouvai ha 27kha 27yim watch free html. 27alouvai ha 27kha 27yim watch free tiktok. Bravo bravo bravo du quartier à Cannes. So I was planning on writing this on Valentine's Day, but better late than never. I love the song "I Dreamed a Dream" from Les Misérables. It's the song of a woman who had a vision for her life, but who for a variety of reasons... what the heck. I'll spare you my interpretation, and insert the part that is relevant in this context. Here ya go: But there are dreams that cannot be And there are storms we cannot weather I had a dream my life would be So different from this hell I'm living So different now from what it seemed Now life has killed the dream I dreamed This woman, poor unfortunate Fantine, daughter of the shadows for no-one else would claim her, expresses in this song from the rawest recesses of her heart the shift, the differential, the disconnect between what she wanted out of life and what she got. Fantine died of exposure and trauma, trauma that was inflicted on her by a customer of the depraved sex trade, which she was a part of because she had no other choice. There's a part of me that sympathizes with Fantine. There is a disconnect in my life between what I wanted and what I got. The primary operator here, however, is wanted. Present tense want, past tense wanted. In time gone by, I had a dream for what my life would be like. I saw a nuclear family, parents that cared for and loved each other, and siblings that were everything I wanted them to be. I don't want that anymore. Because of where I've been, because of what I've been through, my dream has expanded. It has changed into something that is, I think, more worthy of my aspirations. I dream of a family, that while it is divided, is happy. I dream of brothers that feel free to pursue what they want to, with the full support of my parents and I. I dream of a family that is larger than those I am directly genetically related to. I dream of a family that is based not on who provided the biological material to create a life, but who supplied and created the environment to sustain that life. I dream of a world where a city bus driver can wear his crazy gay heart on his sleeve and not feel ashamed or harassed because of it. I dream of a world where I can listen to this song, this song about pain and suffering and the human condition, and I can cry, and not feel the less for it. Ladies and gentlemen, non-binary palls, boys and girls of all ages, we have our work cut out for us. We have a somehow sentient Cheeto that we need to work around. We have a court system that is flawed. We have public records that are being removed from the public record because they do not meet the "correct" version of events. We have a TV show that is making bank by mocking the current political situation (not to mention the horror anthology American Horror Story, which is planning an entire season around the 2016 election). To be clear: I have no problem with SNL or AHS, and if you do, just change the channel. I'll help you find the remote if you need me to. In short, we have bridges to mend, people to feed and to house, we have a neo-Nazi movement that needs to be called what is and treated in the same fashion, and we have politicians that need to put in their place. True to his word, Trump is draining the swamp. Right into his Cabinet. So we have our problems, our villains. Now we need our heroes. We have Andrew Alemao, arrested on suspicion of throwing tomatoes at Trump. We have Bree Newsome, who climbed the flagpole at the South Carolina Capitol building to remove the Confederate flag. She succeeded. We have the unknown person who punched Richard Spencer in the face on live TV. (Richard Spencer is a very vocal Nazi, by the way. I don't recommend punching people, but watching it was cathartic. Not gonna lie. ) In other places, we have Bernie Sanders, who ushered in the era of the printed tweet as a speech prop. We have J. K. Rowling, whose books taught a generation to read and whose tweets are now encouraging that same generation to think for themselves. We have the makers of such films as Hidden Figures, Selma, Supersize Me, No Impact Man, and so on. We have musicians that are exploring the impact of black culture and mental illness through music. (Looking at you, Beyonce and 21 Pilots. ) We have our heroes, we have our villains, and we have a dream that the words of Fantine will not strike a chord in the hearts of our children. That dream is the new American Dream.

Fred leighton. I've gotta say, I love Poland's for some reason. Next comes Japan, and after that, I've gotta say Sweden doesn't get enough attention. The sound and the mikes in this entire show are so off. Some voices not fully captured. And although I agree Linda Eder was phenomenal, I thought Andrea McArdle was simply lovely in her nostalgic rendition of the song she made famous.

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Maybe just me, but Enjolras is hotter than Marius. Profoundly moving, hard hitting moral drama elevated beyond being yet another 'banlieu' film through masterful use of cinematic language, combined with heartfelt performances from a largely non professional cast. France's ongoing tensions around identity, race and belonging expand, confronting you head on with dilemmas about the sheer difficulty of the human condition.
Looking for something going further than social realism? Comfortable being uncomfortable? Willing to question the assumptions of multiculturalism and the liberal enlightenment project? Prepared to wrestle with the effort of formulating just what questions need asking instead of expecting someone to bring you answers? Les Miserables will be for you.
Opening with shots of young black teenagers celebrating France's world cup victory celebrations in Paris in 2018, concluding this opening scene with a shot of the Arc de Triomphe superimposing the title Les Miserables, director Ladj Ly at once situates himself in a canon of French 'auteurs' while claiming space for these marginalised and excluded kids as being indeed French and, furthermore, spiritual descendants of the 19th century 'Les Miserables' of Victor Hugo's novel.
Montfermeil cite (housing project / estate) on the Eastern outskirts of Paris.
Following the world cup, three policemen, Chris, Gwada and newcomer to the team Stephane, are looking for a thief who's stolen a lion cub from a travelling circus - they have a limited amount of time - if the cub isn't returned, war will erupt between the various patriarchal groups who live uneasily alongside one another in the cite.
The liberal enlightenment project assumes the inevitability of 'progress. it's only a matter of time before everyone, everywhere in the world, adopts European (French) systems of democracy, liberal capitalism and so on. Human beings are rational and reasonable, living peacefully through democracy, state institutions and the rule of law.
The 'panopticon' is a system of total surveillance which emerged from 18th century British philosopher Jeremy Bentham. This can be seen to manifest in housing estates like Montfermeil - uniform, system built apartment blocks facilitating observation and control. However, the surveillance is subverted by the nerdy boy Buzz (played by the director's son, Al Hassan Ly) whose hobby is flying drones and who, through the drone, witnesses and records an act of police brutality.
Spectacular use is made of the cite with drone shots soaring above the apartment buildings. Implying freedom, escape yet there's something more sinister. Early on the viewer is implicated in Buzz's pubescent voyeurism using his drone to spy on women - we see from his point of view, implicating us in his voyeurism which confronts us with how so often people in these places are used by politicians and the mainstream media as objects to be exploited for entertainment or political purposes. What's our purpose in watching this? How many times have we watched prurient documentaries about 'tough gangs' or 'problem estates?
While 'District 13' or 'La Haine' spring to mind as obvious comparisons, Les Miserables shares some characteristics, including one crucial scene in particular, with Francois Truffaut's 'The 400 Blows. Both films show marginalised, excluded children. The same difficult age, 12 / 13, moving away from childhood into adolescence.
An academic called Anne Gillain wrote an essay about 'The 400 Blows' called 'The Script of delinquency' drawing on psychoanalytic theories from DW Winnicott and Melanie Klein. Returning to Gillain's work helps account for why and how Les Miserables is so much more than just another 'banlieu' social realist film.
Issa's mother in Les Miserables appears, like Mme Doinel, in 400 Blows, uninterested in her son. If I understood the dialogue correctly, when the cops call at the flat, she doesn't know where he is. Instead, she shows Gwada a room full of female friends counting out money. Clearly materialism and money are more important than children.
Stealing is central in both films - Gillain draws on psychotherapists Winnicott and reads stealing as being 'a gesture of hope' on the part of the child to reclaim the care and love to which they are entitled. Lead actor Issa Perica is perfectly cast as Issa - cub like himself with his delicate features, complexion, beige combat pants, sporting a T shirt with a lion motif explicitly identifying him with the animal. This however is an animal destined for a life of imprisonment as a circus animal. By stealing the cub Issa at one and the same time reclaims the nurturing to which he's entitled and by liberating the animal expresses his own yearning for freedom beyond the confines of his current life.
If women have little visibility in Les Miserables I read this as a comment by Ly on the macho posturing of the patriarchal society he reflects. Women, when they do appear, are strong figures. Teenage girls answer back when provoked by the cop Chris, an inadequate little bully of a man. An enraged mother intervenes against the cops' abusive questioning of four small boys.
If the state has abandoned these kids, literally excluding them and their families to the peripheries, other organisations or institutions don't offer much in the way of alternatives. There's the fast food restaurants and a fast food stand whose owner turns the kids away when they ask for food - the nurturing they seek, embodied by food, is denied them. Promises of reward and fulfilment through work unfulfilled for those too young to participate in economic activity.
Another form of imprisonment is implied through conformity to religion. During a scene when the boys are invited to the mosque, the camera is close in to the Imam and his co worshippers, wearing Islamic dress and beards. One of the boys yawns. Religion, with it's imperatives of dress, conformity of appearance, closes down possibility. By contrast, when they're left to their own devices - playing basketball, making slides from discarded car doors or goofing around in a paddling pool with water pistols, freedom expresses itself through camera work which opens out to long, expansive shots. Envisaged by the state as ordered, regimented public housing the cite becomes instead a locus of spontaneity - space around the blocks is reclaimed as somewhere to play. A similar binary operates in The 400 Blows with interior shots (carceral space) contrasted with exterior - the city as a place of exciting potentialities.
In Les Miserables carceral (prison) space manifests through cars. Patrolling the cite the three cops are confined to their car, unable to leave it for fear of attack. Ultimately, the custodians are metaphorical prisoners themselves, in contrast to the kids, who occupy the space of the cite.
There seems little to distinguish the cops from criminals. At one stage, Chris negotiates a favour with the criminal owner of a sheesha lounge. Where's the moral compass? The police here, as representatives of the state, behave in ways which are anything but reasonable and rational. Their lack of integrity shown by their appalling mistreatment of the children they're supposed to protect.
Finally, staircases and trash feature prominently in both les Miserables and The 400 Blows, although as different signifiers. At one point Stephane is at the foot of the stairs of an apartment block, in the foyer, calling for reinforcements, unable to give his position. There's no address on the building, this is nowhere and everywhere. Montfermeil stands for every marginalised, excluded community, indeed estates like this are to be found on the fringes of every French town and city, populated in the main by those considered 'not enough French.'
I'm saying no more. Hopefully after reading this you'll be off to watch les Miserables as it should be seen - on the big screen. Enjoy.

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