Special Jury Mention - Léo Hinstin, director of photography, for «Nocturama»

A group of youngsters go to different spots in downtown Paris following a plan that—one would say— is perfectly synchronized. As they reach their targets and clocks start ticking towards the appointed time, we discover that Bertrand Bonello has decided to reinterpret Elephant (Gus Van Sant’s, but also Alan Clarke’s) in order to depict the dissatisfaction and bewilderment of an entire generation that opted to provide a violent answer to the injustices they perceive. The fact that Nocturama has pre-dated (or coincided) the tragic series of attempts the French capital suffered recently could be an unfortunate consequence, among other reasons because Bonello talks about another kind of violence: deep down, a more abstract violence. The very dialogue it establishes with Van Sant’s film, with its structure, its empty spaces, is also, and especially in the twist during its last segment, a symptom of moral and political ambiguity. 

J. P.

 

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