ATHENA

France, 2022, 93 minutes, Colour.

Dali Benssalah,  Sami Slimane Anthony Bajon, Quassini Embarek, Alexis Manenti.

Directed by Romain Gavras.

This is a very stylised, even operatic drama set in the difficult suburbs of Paris. It has been written and directed by Romain Gavras (son of the celebrated director of political dramas, Costa Gavras), a director of films, music videos.

In many ways, the drama and central themes of this film, set in the district of Athena, are familiar (memories of such films over the decades about the suburbs as La Haine). There is a focus on three brothers, foreign backgrounds, the older involved in rackets and schemes, drug dealing, the middle brother a police officer with the action focusing on him and his handling of riot situations, the youngest something of an idealist, disturbed by the unexplained murder of their younger fourth brother, becoming a rabble rousing leader. And there are quite a number of interesting characters, amongst the police, amongst the leaders within the community.

However, it is the striking way in which the film has been made that makes such an impact. So many of the sequences are long single takes, rivalling any of the experts in single long takes like Robert Altman. And, they have been well rehearsed and orchestrated, not relying on special effects, having large supporting cast and extras, very elaborate sets and design, and the camera moving through all this with great fluidity, not drawing attention to itself, but involving the audience in the situations and with the characters. This is one of those films that will be part of courses on cinematography and direction.

For French audiences, this is an allegory of life in France, the role of the many migrants, racial hostilities, the role of the police and brutality, the role of government and the possibilities for revolt. For non-French audiences, there may be some difficulties in identifying with the characters, which means that the response is observing what is going on (along with the admiration for the techniques).

1. An allegory of contemporary France? Civil unrest? Violence? Racism? The role of the extreme right?
2. The work of the director? The career of his father and social justice films? His own career in music videos and documentary?
3. A French response to the film and the situations and characters? For audiences outside France, observing rather than empathy? The staging of the situation, the unrest, the violence, the protest, the role of the police, the role of the media and reporting, crises increasing?
4. The impact of the cinematic style, the range of very long takes, the focus on individuals, the various angles, the camera returning, from the view ahead, to the side, to the view behind, continued action? The main style of the film like this? And the insertion of shorter more traditional takes? The ultimate effect of movement, of spectacle, tragedy?
5. The musical score, the operatic excerpts – and the excerpts with some of the spectacular stagings and tableau, making it all operatic?
6. The area of Paris, Athena, the buildings, apartments? The death of the young boy, allegedly by the police, perhaps by the extreme right disguised as police (and the final sequence and the burning of the police uniforms)?
7. The brothers, their stories, intertwined? The introduction to Abdel – and his role as a policeman, the long take of his walking to address the crowds? His working with the police, try to resolve the situation, interactions with his brothers? Moktar, the older brother, the drug dealing, smuggling the rifles? Karim, the younger brother, resenting the murder of the little boy, leading the crowds, the protests, leading to Revolution?
8. The background of the police, the police chiefs, the squads of police going into the area? The focus on Jerome, one of many in the squad, later taking him up, in the file, his mask, the beatings, the withdrawal, the Molotov cocktail the platoon? His being burned, escaping, his being taken, held by Abdel? Abdel’s anger, the threats? His eventual escape?
9. Abdel, conscientious, the police, the confrontation with Karim, the personal plea, the appeal about their mother? Seeing Karim and his death, taking his body? Relying on Moktar, Moktar’s background, the confrontation, his bashing Motatr? In the building, taking all, anger, shooting at him, letting him go?
10. Mock car, his squad, self-centred, drugs and arms, the big safe, going to the building, digging the hole, the role of the police, his contacts within the police? Abdel coming in, the confrontation, mocked are appealing to their being brothers? And Dell continually punching him?
11. Karim, seeing him in action, his age, so it, the various associates, his leadership, the staging of the protests, the monitor cocktails, initially at the press conference, continued action? The meeting with Abdel, with the Molotov cocktail, throwing it, its being shot at, exploding in killing him?
12. The role of Sebastien, working in the garden, silent, cracking open safe, setting up the cylinders, setting the block on fire?
13. The spectacular aspects of the presentation, civil unrest and national tragedy, the more intimate telling of the three brothers and their story and their dead younger brother?
14. The symbolic nature of the film, allegory of what could erupt in France?