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Directed by | |||
| Laurent Cantet | |||
Writing credits | ||
| Laurent Cantet | (scenario) and | |
| Robin Campillo | (scenario) and | |
| François Bégaudeau | (scenario) | |
| François Bégaudeau | (inspired by the book) | |
Produced by | |||
| Simon Arnal | .... | producer | |
| Caroline Benjo | .... | producer | |
| Barbara Letellier | .... | producer | |
| Carole Scotta | .... | producer | |
Cinematography by | |||
| Pierre Milon | |||
Film Editing by | |||
| Robin Campillo | |||
| Stephanie Leger | |||
Costume Design by | |||
| Elisabeth Joinet | (as Bebeth Joinet) | ||
| Marie Le Garrec | |||
Production Management | |||
| Christina Crassaris | .... | post-production supervisor | |
| Michel Dubois | .... | production manager | |
| Marc Dumontet | .... | assistant production manager | |
| Jean-Marie Laurens | .... | assistant unit manager | |
Second Unit Director or Assistant Director | |||
| Mathieu Danielo | .... | assistant director | |
Art Department | |||
| Sabine Barthélémy | .... | set dresser | |
Sound Department | |||
| Antoine Baudouin | .... | assistant sound editor | |
| Edouard d'Heucqueville | .... | sound mix technician | |
| Jean-Pierre Laforce | .... | sound re-recording mixer | |
| Olivier Mauvezin | .... | sound | |
| Antoine Mercier | .... | sound | |
| Agnes Ravez | .... | sound editor | |
| Paulin Sagna | .... | sound | |
Casting Department | |||
| Vicky Brougiannaki | .... | extras casting assistant | |
| Christine Campion | .... | extras casting | |
Editorial Department | |||
| Sophie Denize | .... | digital intermediate producer | |
| Florian Du Pasquier | .... | conforming editor | |
| Jacky Lefresne | .... | colorist | |
Other crew | |||
| Vincent Caire | .... | acting coach: to children | |
| Aurelio Cardenas | .... | assistant director | |
| Isabelle Coursin | .... | location manager | |
| Mathieu Danielo | .... | assistant to director | |
| Nathalie Depose | .... | location manager | |
| Michel Dubois | .... | assistant to director | |
| Annie Girault | .... | production administrator | |
| Stéphane Longour | .... | acting coach: to children | |
| Olivier Pasquier | .... | financial director | |
| Myriam Raynaud | .... | production assistant | |
| Sambou Sissoko | .... | assistant to director | |
| Brigitte Tijou | .... | assistant to director | |
| Brigitte Tijou | .... | script supervisor | |
| Stéphanie Tournerie | .... | production administrator | |
Thanks | |||
| Gilles Marchand | .... | thanks | |
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| Notes on a Scandal | Easy A | Half Nelson | Persepolis | Monsieur Ibrahim |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb France section |
I watched another French film in a row (after ""Il y a Longtemps que Je T'aime"). "Entre Le Murs" (known in English as "the Class") is the French bet for the Best Foreign Language Film Oscar, and also the first French film to win the Palm D'Or of the Cannes Film Festival in 20 years. It is simply begging to be seen, so I did, despite knowing nothing about its subject matter.
"The Class" turns out to be a documentary-like movie about the tense interaction between teacher and students in a French multiracial high school. In particular, the film follows French grammar teacher Francois Marin who would like to think of himself as a progressive teacher who employs the interactive and self-discovery classroom technique, rather than by traditional lecture style.
However, most of his students are disturbingly belligerent, frank and disrespectful. The main conflict is with a particularly insolent Mali boy named Souleymane who has violent outbursts in class. But there are other students too from Tunisia, Morocco, China, the Caribbean, etc.. all of whom with their own personality and issues which the teacher has to deal with.
Everything in this film is very realistic indeed. It becomes even more personal after knowing that the lead actor who played Mr. Marin is Francois Begaudeau, who actually wrote the semi-autobiographical book about his experiences as a teacher, as well as adapted his own book for this film's screenplay. This is another instance when I am sure a lot of the richness of the language interplay will be lost in the subtitled translations.
A lot of people will find this film boring because of the two hour length, the single setting within the school, and no additional personal side stories about the teachers and students. But with my recent foray into the theory of Education in Graduate School, this film is quite an eye-opener about how different the school situation is these days. Definitely, this film has no Hollywood story arc and uplifting ending. It just tells the situation as it is. And that is precisely where its strength is.