A 9-year-old girl weathers big changes in her household as her parents become radical political activists in 1970-71 Paris.A 9-year-old girl weathers big changes in her household as her parents become radical political activists in 1970-71 Paris.A 9-year-old girl weathers big changes in her household as her parents become radical political activists in 1970-71 Paris.
the film is filled with a dizzying array of philosophy and ideology - everything from communism, to Catholicism to Greek and Asian mythology - which Anna must reconstruct from confusion to her own set of beliefs. as she negotiates her way through this ideological maze until ultimate internalization of her parents' admirable (all be it ad hocly administered) objectives we are exposed to a witty analysis of stereotyping, misinformation, the potential hypocrisies of ideologies and the potential false-hopes of idealism.
for example Anna's mother makes a comment that she can get the kind of issues-political writing she is turning her repertoire to published in Marie Clare, but later throws out a copy of the magazine when her article isn't published, proving that just because you want to save the world doesn't mean Marie Clare does.
an example of stereotyping and misinformation around beliefs is the number of reds under the beds comments and Anna's grandmother's comment that the commies want to take all of Anna's toys. she also says that all radicals have beards, which, when repeated later by Anna, is met with an inquiry as to whether Santa clause is a radical by her kid-brother Francois (played by Benjamin feuillet).
another witty example at one point her parents take her to a rally to demonstrate solidarity, but later in the film, when 'exercising solidarity' with her classmates who all believe Rome to have existed before Greece despite her knowing better, she learns that solidarity and being a sheep are two different things. but when her dad tells her that is being a sheep, she asks how he knows that what he is doing is solidarity, not just being a sheep.
i really like the film's human side. the film is constantly filled with usual family goings-on mother-daughter tiffs, routines, sharing meals which illustrates that these militants are real people, with families and commitments. Francois is as real a little boy will all the bounce and energy and impulsiveness as any other which makes his character totally believable.
the first-time director Julie gavras is the daughter of militant filmmaker Costa gavras, peppering the film with a sense of lived history. added to how delightfully self-aware the film is, la faute à Fidel is a smart film that takes on the role of exposing the ways in which children may be victimized by the ideas of their parents, even when those ideas are well- meaning and progressive.
- Mar 25, 2007