<html>
<head>
<meta http-equiv="Content-Type" content="text/html; charset=UTF-8">
</head>
<body text="#000000" bgcolor="#f9f9fa">
<p>IK heb hem al gevonden:</p>
<p>18+<br>
</p>
<p><a class="moz-txt-link-freetext" href="https://www.hollywoodreporter.com/news/general-news/minister-l-exercise-de-l-190342/">https://www.hollywoodreporter.com/news/general-news/minister-l-exercise-de-l-190342/</a></p>
<div class="header reader-header reader-show-element"> <a
class="domain reader-domain"
href="https://www.hollywoodreporter.com/news/general-news/minister-l-exercise-de-l-190342/">hollywoodreporter.com</a>
<div class="domain-border"></div>
<h1 class="reader-title">The Hollywood Reporter</h1>
<div class="credits reader-credits">Jordan Mintzer</div>
<div class="meta-data">
<div class="reader-estimated-time"
data-l10n-id="about-reader-estimated-read-time"
data-l10n-args="{"range":"~4","rangePlural":"other"}"
dir="ltr">~4 minutes</div>
</div>
</div>
<hr>
<div class="content">
<div class="moz-reader-content reader-show-element">
<div id="readability-page-1" class="page">
<div>
<p><img class="c-lazy-image__img
lrv-u-background-color-grey-lightest lrv-u-width-100p
lrv-u-display-block lrv-u-height-auto"
src="https://www.hollywoodreporter.com/wp-content/uploads/2011/05/ministera_a_l.jpg?w=2000&h=1126&crop=1"
alt="The Minister (L’Exercise de l’Etat): Cannes 2011
Review" width="" height=""></p>
<p><br>
</p>
<p>CANNES — At once intriguing and dense, disjointed and
overwrought, <em>The Minister </em>(<em><span
data-scayt_word="L’Exercise" data-scaytid="9">L’Exercise</span>
de <span data-scayt_word="l’Etat" data-scaytid="10">l’Etat</span></em>)
reps a challenging second feature from writer-director <strong>Pierre
<span data-scayt_word="Schoeller" data-scaytid="12">Schoeller</span></strong>
(<em>Versailles</em>), and one that doesn’t quite get all
its ducks in a row. Anchored by<strong> Olivier Gourmet</strong>’s
sharp performance as a French transports minister dealing
with a multitude of sticky issues and stress-inducing
scenarios, this episodic political yarn will tally up
votes in Francophone territories, with a solid TV showing.</p>
<p>“Politics is a wound that never heals,” declares Bertrand
Saint-Jean (Gourmet), a fast-acting, forever on the move
policy machine who never lets down his guard – or his
Blackberry – as he’s shuffled from one five-minute meeting
to another. With the help of his PR maven, Pauline (<strong><span
data-scayt_word="Zabou" data-scaytid="14">Zabou</span>
<span data-scayt_word="Breitman" data-scaytid="15">Breitman</span></strong>),
and top-notch private secretary, Gilles (<strong>Michel
Blanc</strong>), Saint-Jean maneuvers his way through
the complex inner workings of the French bureaucracy,
sticking to his guns when he can, but capitulating when
the powers-that-be decide otherwise.</p>
<p>Kicking off with a surreal dream sequence that shows a
naked woman crawling into the mouth of a crocodile (the
symbolism is rather obvious given what comes after), the
story then shifts to a brutal bus accident site where
Saint-Jean gives a pro-forma speech, before he heads back
Paris to deal with a plethora of issues affecting his
Ministry of Transportation. Among the many plot lines –
which are tough to follow given how quickly the shifting
narrative jumps between them – Saint-Jean’s trickiest
beast is a controversial privatization of France’s train
stations, a plan he’s fundamentally opposed to despite the
government’s favoring of the reform.</p>
<p><span data-scayt_word="Dardenne" data-scaytid="20">Dardenne</span>
Bros. (credited as producers) regular Gourmet offers up
his usual frenzied, <span data-scayt_word="sweatbucket"
data-scaytid="21">sweatbucket</span> antics, adding
nuance to a character who exists more as a reaction to
surrounding forces than as a distinct personality. As he
faces an army of cabinet enemies and tries to keep his
office afloat, Saint-Jean barely has time to stop and
think – or see his family, beyond a run-and-gun sexual
encounter with his wife (<span data-scayt_word="Arly"
data-scaytid="18">Arly</span> <span
data-scayt_word="Jover" data-scaytid="19">Jover</span>)
– and the same could be said for <span
data-scayt_word="Schoeller’s" data-scaytid="24">Schoeller’s</span>
vision, which dishes out tons of ideas without ever
holding onto one long enough to provide substantial
dramatic pull.</p>
<p>As a trusty (but not too trusty) right-hand man, Blanc (<em>The
Girl on the Train</em>) provides the film’s most solid
supporting role, though his relationship with Saint-Jean
is often too ambiguous to pin down, turning their
third-act conflict into yet another subplot to be dealt
with.</p>
<p>Gripping widescreen shooting by ace DP <strong>Julien
Hirsch</strong> (<em>Unforgivable</em>) balances out the
multitude of locations and settings, while a dissonant
score by<strong> Philippe <span
data-scayt_word="Schoeller" data-scaytid="25">Schoeller</span>
</strong>(the director’s brother) is meant to reflect
Saint-Jean’s frenetic state of mind.</p>
<p><em>Venue: <a
href="https://www.hollywoodreporter.com/t/cannes-film-festival/"
id="auto-tag_cannes-film-festival"
data-tag="cannes-film-festival">Cannes Film Festival</a>
(Un Certain Regard)<br>
Sales: Doc & Film <a
href="https://www.hollywoodreporter.com/t/international/"
id="auto-tag_international" data-tag="international">International</a><br>
Production companies: <span data-scayt_word="Archipel"
data-scaytid="27">Archipel</span> 35, Les Films du <span
data-scayt_word="Fleuve" data-scaytid="28">Fleuve</span>,
France 3 Cinema, <span data-scayt_word="RTBF"
data-scaytid="29">RTBF</span> (<span
data-scayt_word="Télévision" data-scaytid="30">Télévision</span>
<span data-scayt_word="Belge" data-scaytid="31">Belge</span>),
<span data-scayt_word="Belgacom" data-scaytid="32">Belgacom</span><br>
Cast: Olivier Gourmet, Michel Blanc, <span
data-scayt_word="Zabou" data-scaytid="33">Zabou</span>
<span data-scayt_word="Breitman" data-scaytid="34">Breitman</span>,
Laurent Stocker, <span data-scayt_word="Sylvain"
data-scaytid="35">Sylvain</span> <span
data-scayt_word="Deblé" data-scaytid="36">Deblé</span>,
Eric <span data-scayt_word="Naggar" data-scaytid="37">Naggar</span>,
<span data-scayt_word="Arly" data-scaytid="38">Arly</span>
<span data-scayt_word="Jover" data-scaytid="39">Jover</span>,
Anne <span data-scayt_word="Azoulay" data-scaytid="40">Azoulay</span><br>
Director-screenwriter: Pierre <span
data-scayt_word="Schoeller" data-scaytid="41">Schoeller</span><br>
Producers: Denis <span data-scayt_word="Freyd"
data-scaytid="44">Freyd</span>, Jean-Pierre <span
data-scayt_word="Dardenne" data-scaytid="42">Dardenne</span>,
Luc <span data-scayt_word="Dardenne" data-scaytid="43">Dardenne</span><br>
Director of photography: Julien Hirsch<br>
Production designer: Jean Marc Tran Tan Ba<br>
Costume designer: <span data-scayt_word="Pascaline"
data-scaytid="47">Pascaline</span> <span
data-scayt_word="Chavanne" data-scaytid="48">Chavanne</span><br>
Editor: Laurence <span data-scayt_word="Briaud"
data-scaytid="49">Briaud</span><br>
Music: Philippe <span data-scayt_word="Schoeller"
data-scaytid="50">Schoeller</span><br>
No rating, 113 minutes</em></p>
</div>
</div>
</div>
</div>
<p></p>
<div class="moz-cite-prefix">On 3/17/23 18:43, René Oudeweg wrote:<br>
</div>
<blockquote type="cite"
cite="mid:e1dd0862-282f-a7c1-e23a-7a6219da0578@gmail.com">
<meta http-equiv="content-type" content="text/html; charset=UTF-8">
<p>Ik was behoorlijk van mn apropos geraakt jaren geleden van een
revolutionaire Frnse film die op ARte vertoond werd waar tijdens
de openingsscene een gedekte tafel van een zwarte cultus
waarnaast een krokodil met open bek waar een naakte vrouw in
kroop. Dat beeld is me blijven achtervolgen.<br>
</p>
<p>Zou graag de naam van de film willen weten zodat ik hem kan nog
eens kan zien...</p>
<p>Er zijn vast kenners die de naam van deze Franse film weten.
Een soort Godard Weekend maar dan veel erger..<br>
</p>
<p>Misschien kan Fluks even zijn zoekvermogens inzetten.<br>
</p>
<p>R.O.<br>
</p>
<p><br>
</p>
</blockquote>
</body>
</html>