La Lutte des classes

Je préfère mille fois voir une seule comédie sociale française avec des éléments de drame palpitant que mille débilités américaines artificielles. Leila Bekhti m’a enchanté déjà à plusieurs reprises et Edouard Baer se démarque toujours dans les scènes d’alcoolisme. Un film particulièrement d’actualité, surtout pour la France, mais les problèmes qu’il soulève existent aussi dans d’autres pays. (31/10/2021)

The coexistence of different cultures in the French multicultural society and endless cultural wars that have become a hallmark of Western Europe could be fertile ground for great comedic creation. However, alongside talent, creative courage, and willingness to cast aside the shackles of political correctness are essential prerequisites. It would be nice to poke fun at the pseudo-non-conformist attitudes of today's aging salon leftists, as long as the humor is not sterile and does not shy away from its own shadow. If its peak is represented by a fifty-year-old who, with his wardrobe, looks like a metalhead and is stuck in rock concerts in the 80s, something is not right. It may be characteristic that the funniest (because creators don't have to worry about social "responsibility" and reactions) are the scenes featuring a marginalized character, the Jewish neighbor, a member of a community that does not have an easy life in contemporary France. Considering the attractive and likable Leila Bekhti, I will ultimately lean towards giving it a three-star rating, albeit with the awareness that I am being too accommodating to a film with such wasted potential. Overall impression: 50%. (07/08/2021)