Elle est des nôtres (2003)

Director:

Siegrid Alnoy

Writers:

Siegrid Alnoy (writer)
Jérôme Beaujour (writer)

Release Date:

24 September 2003 (France)

Genre:

Drama

Plot:

Echoes of Dostoyevsky. At the start, Christine Blanc is a temp, her boyfriend has gone. Near the story's end...

Plot Keywords:

Job | Co Worker | Temp Worker | Make Believe Boyfriend | Employment

Awards:

3 wins & 1 nomination

Cast

Sasha Andres	...	Christine Blanc
Carlo Brandt	...	Degas
Pierre-Félix Gravière	...	Sébastien
Catherine Mouchet	...	Patricia
Eric Caravaca	...	Éric
Mireille Roussel	...	Pascale
Jacques Spiesser	...	Danjard
Geneviève Mnich	...	La mère de Christine
Dominique Valadié	...	Marie-Noëlle, la voisine
Clotilde Mollet	...	Carole
Stanislas Stanic	...	Inspecteur Brebion
Rodolphe Congé	...	Inspecteur Cazalis
Nathalie Besançon	...	La serveuse
Valérie de Dietrich	...	Sonia
Delphine Elliet	...	Comptable

Also Known As:

For She's a Jolly Good Fellow (International: English title)
She's One of Us (USA)

Runtime:

France:100 min | USA:100 min

Country:

France

Language:

French

Color:

Color

Company:

B.C. Films

Disturbing

An unsettling film about a woman unable to fit into her surroundings, out of place at work, at home, with her parents. Shot in a very clinical manner - it should come as no surprise that the director admires Resnais and Antonioni. There is some humor in the film, though even that is undercut by some dialogue about wishing to laugh for once without it being at the expense of others. The film manages, however, to include some melodrama: a murder, a police investigation, an off-screen suicide.

I saw the film at a series of French films in New York and was inclined, despite everything, to give the director the benefit of the doubt on a film which, though unpleasant, seemed to have a great deal of sympathy for those who just don't fit in. Unfortunately, the director was present and explained that the film was above all a critique of the workplace, which saps the creativity of workers. Despite my upper middle-class status, I could only think at that point: Elitist bulls**t! For most people, work is the means by which they support and protect themselves and their families. And for many, the workplace is the locus of their creativity--or at least where they can draw on the support and friendship of their co-workers.

There were in this film no children, no books, no sign of the civil society that sustains people faced with earning a living, being decent, facing mortality. The film seemed to succumb, ultimately, to the fallacy of form: only something lifeless, dreary and unrelenting could describe the situation of the workplace. Convinced me more than ever of the formal validity of the work of leftist filmmakers like Loach, Leigh and Godard (at least the early Godard), who are able to depict the contradictions of modern life with vitality and humor and, ultimately, respect for those who have to endure it.

So, yes, a provocative film, but the work of a scold.