WE LOVE – In theaters this Wednesday, “La Fracture” plunges spectators into the hell of a night in the emergency room, an evening of yellow vests in Paris. A fiction as realistic as it is edifying for Catherine Corsini, its director and screenwriter.
Jerome Vermelin –
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The first big film on the yellow vests crisis was born from a personal mishap. “And even from a pretty tough accident“says Catherine Corsini, the director of The divide, in theaters this Wednesday. “I found myself with four irons in the air, near Avenue de la République, on a Saturday evening in the third act of the yellow vests. I was rushed to the emergency room and I don’t know if the state I was in gave me visions, if I made up a movie to get out of the lethargy I was in all these hours. waiting. But I had the feeling to feel the beginnings of a new subject.”
From reality to fiction, Catherine Corsini has forged a double imaginary through the character of Raf, a slightly bobo comic artist played by Valeria Bruni Tedeschi. She arguing with Julia, her companion played by Marina Foïs, when she falls on the Parisian asphalt. “Like me with my partner and producer“Says the filmmaker. In the emergency room, she will cross paths with Yann, a road victim of an unencumbering shot during a demonstration of yellow vests. As the wounded arrive, tensions accumulate in a hospital where the staff, on the verge of a nervous breakdown, is summoned by the police to give the names of the demonstrators.
Oscillating between the tragic and the absurd, the director draws tears, of laughter as of sadness, during this night in hell which offers an unprecedented reverse shot to the weekends that have bruised France for long months. “When we saw the images of the demonstrations on the news, we had the impression of no longer seeing individuals but packs vituperating and sending projectiles at each other.said Catherine Corsini.Seeing the Champs-Élysées on fire from my 10th arrondissement, I even had the impression that Paris was at war. What is interesting about cinema is being able to stop, to be able to think a little, to give faces to these people and to better understand their demands..”
We can say that France is a loud people, but I think that it is a people who care about its public services like the hospital, because it is a place which allows to make common
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The divide also paints the portrait of a public hospital whose staff did not wait for the Covid crisis to cry out in distress. “The night I am describing is special, but the reality is not very far away“, insists the filmmaker who for practical reasons filmed in an abandoned warehouse in the Paris suburbs.”If I take the example of the Lariboisière hospital, where I was hospitalized, we come across night people, unaccompanied minors, individuals in distress, some of them out of psychiatric hospitals. Others who just can’t afford to go to the doctor anymore. When I show the film to caregivers, nobody tells me that it’s exaggerated, in Paris as in the provinces.”
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Built like a closed door with no downtime, The divide draws up an edifying report of the ills of French society, to be considered as the presidential election approaches. “What is certain is that the film never advocates violence“, insists Catherine Corsini echoing the clumsy words of Pio Marmaï on the Croisette.”On the contrary, it is a film which says that dialogue is essential while we are setting people up against each other. We can say that France is a people of loudmouth, but I think that it is a people which values its public services like the hospital, because it is a place which makes it possible to make common. And to be common is also to accept the differences. What is the most important thing today.”
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